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Delve into Ezekiel’s tumultuous world, discovering his role as YHWH’s מוֹפֵת, a unique ‘sign’, among many others, and a divine communicator. Does the Exile’s trauma find an ‘ameliorating’ perspective through Ezekiel’s symbolic actions and identity? From temple absence to YHWH’s ‘glory’ departure, from loss and prohibited grief to intermittent mutism, is Ezekiel a response to a communication crisis between YHWH and Israel? Uncover how מוֹפֵת’s elusive meaning sheds light on Ezekiel’s role as an ‘embodiment’ of YHWH’s presence, a bridge in YHWH’s intricate relationship with Israel. Through meticulous exegesis and linguistic-theological analysis, you will experience afresh Ezekiel’s narrative and theology.
Seth F. Josel, ein innovativer Gitarrist, und die elektroakustische Komponistin Michelle Lou haben dieses längst überfällige Buch zusammen erarbeitet – nicht zuletzt inspiriert durch eine neue Generation von Solisten, die mit ihrer außerordentlichen Virtuosität eine ganz neue instrumentale Aufführungspraxis erschlossen haben. Das Buch zeigt umfassend die technischen Möglichkeiten des Instruments und der begleitenden elektronischen Komponenten. Komponisten und Komponistinnen profitieren insbesondere von den eingehenden Analysen zeitgenössischer Werke für E-Gitarre, die viele Beispiele für den Einsatz des Instruments in der Kammermusik und in Ensembles umfassen. In den zahlreichen ...
Insights gained from the study of metaphorical language in other fields, particularly New Testament parable research, are here applied to the tree metaphors in Isaiah 1-39. The focus of investigation is the content of the metaphors , the intentions underlying their use, and the consequences of that use. The author suggests that (1) the informative function of the tree metaphors is to provide theological interpretations of the political situation; (2) the performative function of the metaphors is to engage the audience in such a way that they adopt the metaphors' interpretation of reality as their own; (3) the use of metaphorical language encourages continual reinterpretation of the original ...
Music after the Fall is the first book to survey contemporary Western art music within the transformed political, cultural, and technological environment of the post–Cold War era. In this book, Tim Rutherford-Johnson considers musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing connections with the other arts, in particular visual art and architecture, he expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall. Each chapter is a critical consideration of a wide range of composers, performers, works, and institutions, and develops a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from electroacoustic music studios in South America to ruined pianos in the Australian outback. Rutherford-Johnson puts forth a new approach to the study of contemporary music that relies less on taxonomies of style and technique than on the comparison of different responses to common themes of permission, fluidity, excess, and loss.
New essays on the works and themes of Hesse, one of the most perennially relevant and widely-read German authors.
Music After Deleuze explores how Deleuzian concepts offer interesting ways of thinking about a wide range of musics. The concepts of difference, identity and repetition offer novel approaches to Western art music from Beethoven to Boulez and Bernhard Lang as well as jazz improvisation, popular and sacred music. The concepts of the 'rhizome', the 'assemblage' and the 'refrain' enable us to think of the specificity of musical works as the meeting of productive forces, for example in the contemporary opera of Dusapin and the experimental music theatre of Aperghis. The concepts of smooth and striated space form the starting point for musical and political reflections on pitch in Western and Eastern music. Deleuze's notion of time as multiple illumines the distinctive conceptions of musical time found in Debussy, Messiaen, Boulez, Carter and Grisey. Finally, the innovative semiotic theory forged in Deleuze-Guattarian philosophy offers valuable insights for a semiotics capable of engaging with the innovative, molecular music of Lachenmann, Aperghis and Levinas.
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This volume contains 4,475 entries, furthering the author's work of providing a comprehensive bibliography of modern research on the city of Jerusalem. Vol.2 supplements vol.1 (1988) not only by providing new titles, but also by including additional information on titles that appeared in vol.1 (including notices of reviews). As with vol.1, 40 chapters are arranged under eight major headings: general studies, Jerusalem during the Biblical period, Jerusalem during the Second Temple period, Roman Jerusalem, Jewish Jerusalem, Christian Jerusalem, as a Muslim city, and in modern times. Annotation copyrighted by Book News, Inc., Portland, OR