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Open and Unafraid
"A book you will want to read and read again." -- Eugene Peterson Afterword by Bono. How can you find a more transparent, resilient, and fearless life of faith? Open and Unafraid by David Taylor takes readers on a profound journey through the book of Psalms, which has been a central pillar for God's people for millennia, across all walks of life and cultural contexts. In reading it, we discover that we are never alone in our joys, sorrows, angers, doubts, praises, or thanksgivings. In it, we learn about prayer and poetry, honesty and community, justice and enemies, life and death, nations and creation. As a professor, pastor, author, and producer of the short film Bono and Eugene Peterson: T...
Our War
None
For the Beauty of the Church
Think of your local church. Without art--music, song, dance, etc.--it would be a much poorer place. But if protestants have any vision for the arts, it tends to be a thin one. This unique book is an attempt to contribute to a robust, expansive vision for the church and the arts. Its specific aim is to show how the many parts of the landscape of church and art hold together. You can think of it as a kind of helicopter flyover, but one with expert pilots. The guides include the likes of Eugene Peterson, Lauren Winner, Jeremy Begbie, Andy Crouch, and John Witvliet, helping to inspire readers and empower pastor-leaders with a vision of the church and the arts that is compelling, far-seeing, and profoundly transformative.
David Taylor Report: 267
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The Remarkable Lushington Family
Drawing on previously unpublished archival materials, this study spans three generations of the Lushington family. It investigates their personal histories through the themes of social, artistic, and cultural history. The author analyzes the Lushington family’s relationships with well-known figures like Lady Byron, Queen Caroline, and members of the Bloomsbury Group. Most importantly, this study examines Lushington family members’ roles within larger trends, including abolitionism, the Pre-Raphaelite movement, and Positivism.
Glimpses of the New Creation
How do the arts in worship form individuals and communities? Every choice of art in worship opens up and closes down possibilities for the formation of our humanity. Every practice of music, every decision about language, every use of our bodies, every approach to visual media or church buildings forms our desires, shapes our imaginations, habituates our emotional instincts, and reconfigures our identity as Christians in contextually meaningful ways, generating thereby a sense of the triune God and of our place in the world. Glimpses of the New Creation argues that the arts form us in worship by bringing us into intentional and intensive participation in the aesthetic aspect of our humanity—that is, our physical, emotional, imaginative, and metaphorical capacities. In so doing they invite the people of God to be conformed to Christ and to participate in the praise of Christ and in the praise of creation, which by the Spirit’s power raises its peculiar voice to the Father in heaven, for the sake of the world that God so loves.
Contemporary Art and the Church
The church and the contemporary art world often find themselves in an uneasy relationship in which misunderstanding and mistrust abound. Drawn from the 2015 biennial CIVA conference, these reflections from theologians, pastors, and practicing artists imagine the possibility of a renewed and mutually fruitful relationship between contemporary art and the church.
The Theater of God's Glory
A theological framework for the liturgical arts rooted in John Calvin Both detractors and supporters of John Calvin have deemed him an enemy of the physical body, a pessimist toward creation, and a negative influence on the liturgical arts. But, says W. David O. Taylor, that only tells half of the story. Taylor examines Calvin's trinitarian theology as it intersects his doctrine of the physical creation in order to argue for a positive theological account of the liturgical arts. He does so believing that Calvin's theology can serve, perhaps surprisingly, as a rich resource for understanding the theological purposes of the arts in corporate worship. Drawing on Calvin's Institutes, biblical commentaries, sermons, catechisms, treatises, and worship orders, this book represents one of the most thorough investigations available of John Calvin's theology of the physical creation--and the promising possibilities it opens up for the formative role of the arts in worship.
1979
The Israeli-Palestinian peace process, the continuing US-Iraqi confrontation, the changing political dynamics in Iran, recent Pakistani-Indian hostilities and Osama bin Laden-all of these have one important common denominator: Significant strands of their origins can be traced to the tumultuous year of 1979. This text offers a new paradigm for stud
David Taylor Report
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
