Religions and Discourse explores religious language in the major world faiths from various viewpoints, including semiotics, pragmatics and cognitive linguistics, and reflects on how it is situated within wider intellectual and cultural contexts. In particular a key issue is the role of figurative speech. Many fascinating metaphors originate in religion e.g. revelation as a 'garment', apostasy as 'adultery', loving kindness as the 'circumcision of the heart'.
There is no gainsaying the fact that the problem of religious intolerance has become a worldwide problem. In todays pluralistic society, the dialogical tension between openness and identity has become a major challenge for interreligious dialogue and peaceful co-existence. This tension is expressed in the question, Can one maintain ones own religious identity without one closing oneself off from the other? This question is central to the challenges posed on how religious education can contribute to sustainable peace in Nigeria and the world over. In this book Stella Nneji critically assesses the various models of religious pedagogy (mono-religious, multi-religious and inter-religious) by asking how these models relate to the dialogical tension between openness and identity in Nigeriaa nation perceivably confronted with an enduring history of post-colonial strife, religious intolerance and violence. The contention is that the mono-religious and multi-religious models, which, while dominant in current practice and in academia, nevertheless fall short of expressing the authentic challenges and opportunities religious intolerance presents in Nigerian multi-religious/cultural context. In this connection, this book provides a clear notion of the theological foundation, principles, and framework of inter-religious education and a practical guide for authentic dialogue in a plural context. She calls for a paradigm shift for confessional religious pedagogy to a model of inter-religious learning as incorporated within the hermeneutical-communicative education. On this basis, the book proposes a new model for the role of religious education in Nigeria. This model in a critical-enculturated way, attempts to recognize the tensions of authentic religious difference, presupposing a broad spectrum of difference in the classroom in a way that also incorporates genuine religious encounters and expressions of identity.
Drawing of the postmodern perspective and concerns that informed her groundbreaking Terpsichore in Sneakers, Sally Banes’s Writing Dancing documents the background and developments of avant-garde and popular dance, analyzing individual artists, performances, and entire dance movements. With a sure grasp of shifting cultural dynamics, Banes shows how postmodern dance is integrally connected to other oppositional, often marginalized strands of dance culture, and considers how certain kinds of dance move from the margins to the mainstream. Banes begins by considering the act of dance criticism itself, exploring its modes, methods, and underlying assumptions, and examining the work of other critics. She traces the development of contemporary dance from the early work of such influential figures as Merce Cunningham and George Balanchine to such contemporary choreographers as Molissa Fenley, Karole Armitage, and Michael Clark. She analyzes the contributions of the Judson Dance Theatre and the Workers’ Dance League, the emergence of Latin postmodern dance in New York, and the impact of black jazz in Russia. In addition, Banes explores such untraditional performance modes as breakdancing and the “drunk dancing” of Fred Astaire. Ebook Edition Note: Ebook edition note: All images have been redacted.
What is postmodern music and how does it differ from earlier styles, including modernist music? What roles have electronic technologies and sound production played in defining postmodern music? Has postmodern music blurred the lines between high and popular music? Addressing these and other questions, this ground-breaking collection gathers together for the first time essays on postmodernism and music written primarily by musicologists, covering a wide range of musical styles including concert music, jazz, film music, and popular music. Topics include: the importance of technology and marketing in postmodern music; the appropriation and reworking of Western music by non-Western bands; postmodern characteristics in the music of Górecki, Rochberg, Zorn, and Bolcom, as well as Björk and Wu Tang Clan; issues of music and race in such films as The Bridges of Madison County, Batman, Bullworth, and He Got Game; and comparisons of postmodern architecture to postmodern music. Also includes 20 musical examples.
Kramer was one of the most visionary musical thinkers of the second half of the 20th century. In his The Time of Music, he approached the idea of the many different ways that time itself is articulated musically. This book has become influential among composers, theorists, and aestheticians. Now, in his almost completed text written before his untimely death in 2004, he examines the concept of postmodernism in music. Kramer created a series of markers by which we can identify postmodern works. He suggests that the postmodern project actually creates a radically different relationship between the composer and listener. Written with wit, precision, and at times playfully subverting traditional tropes to make a very serious point about this difference, Postmodern Music, Postmodern Listening leads us to a strongly grounded intellectual basis for stylistic description and an intuitive sensibility of what postmodernism in music entails. Postmodern Music, Postmodern Listening is an examination of how musical postmodernism is not just a style or movement, but a fundamental shift in the relationship between composer and listener. The result is a multifaceted and provocative look at a critical turning point in music history, one whose implications we are only just beginning to understand.
Queen Ida, Danny Poullard, documentary filmmaker Les Blank, Chris Strachwitz, and Arhoolie Records. These are names that are familiar to many fans of Cajun music and zydeco, and they have one other thing in common—-longtime residence in the San Francisco Bay Area. They are all part of a vibrant scene of dancing and live Louisiana-French music that has evolved over several decades. Cajun and Zydeco Dance Music in Northern California traces how this region of California has been able to develop and sustain dances several times a week with more than a dozen bands. Description of this active regional scene opens into a discussion of several historical trends that have affected life and music in Louisiana and the nation. The book portrays the diversity of people who have come together to adopt Cajun and Creole dance music as a way to cope with a globalized, media-saturated world. Ethnomusicologist Mark F. DeWitt innovatively weaves together interviews with musicians and dancers (some from Louisiana, some not), analysis of popular media, participant observation as a musician and dancer, and historical perspectives from wartime black migration patterns, the civil rights movement, American folk and blues revivals, California counterculture, and the rise of cultural tourism in “Cajun Country.” In so doing, he reveals the multifaceted appeal of celebrating life on the dance floor, Louisiana-French style.
The IELTS Academic Training Reading Practice Tests series has been developed to help students to have more tests to practise with. It has been recommended by a number of IELTS academics that students engage in practicing for the IELTS exam daily, at least six months in advance, to give them a better chance at getting the score they need. Of course, that means you're going to need LOTS of IELTS practice tests to help you get prepared! Through practicing these questions, and other questions in the series, you’ll be able to become more familiar with the types of questions asked in the exam, and be better able to answer more confidently.
Social postmodernism and systematic theology can be considered the new pair in some of the most creative discussions on the future of theological method on a global scale. Both in the academy and in the public square, as well as in the manifold local and pastoral moments of ministry and community social activism, the social, the postmodern, and the theological intermingle in engaging and border-crossing ways. The Community of the Weak presents a new kind of jazzy fundamental theology with a postmodern touch, using jazz as a metaphor, writing ethnographically messy texts out of the personal windows of lived experiences, combining fragments of autobiography with theological reconstruction. A comparative perspective on North American and European developments in contemporary systematic theology serves as a hermeneutical horizon to juxtapose two continents in their very different contexts. The author proposes a systematic and fundamental theology that is more jazzy, global, and narrative, deeply embedded in pastoral ministry to tell its postmodern story.
