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During the 1860s and '70s, more than a decade before the development of French Impressionism, Italy produced a group of avant-garde artists whose fervently nationalist paintings anticipated some of Impressionism's theoretical concerns. These artists were called "Macchiaioli" because they based their technique on a quickly rendered macchia, or sketch. In the first extended sociopolitical interpretation in English of this important group, Albert Boime places the Macchiaioli in the cultural context of the Risorgimento—the political movement that unified Italy, freed from foreign rule, under a secular, constitutional government. Anglo-American art criticism has generally neglected these painte...
In September of 1701, events transpired in Naples that, through frequent retellings, became popularly known as “the conspiracy of the Prince of Macchia.” Rapidly gaining fame, this apparently anonymous narrative was soon incorporated by different historians in their history of the transition years between the seventeenth and eighteenth centuries. But who was the initial bard or narrator, the town clerk or citizen who first gave testimony of this event by creating a Latin text of the story of the Prince of Macchia? Giambattista Vico was not among the claimants to the authorship of the fabulous story that changed the future of the Kingdom of Naples. Nevertheless, four scholars across the nineteenth and twentieth centuries were themselves convinced, and managed to convince the intellectual world as well, that Vico, then a young teacher of rhetoric at the University of Naples, was indeed the source of this original Latin narration of this oft retold Neapolitan history. This book provides the original Latin text with a parallel translation, as well as historical context and analysis of both the text’s authorship history and the account itself.
Pentecostals are known for an experiential spirituality that emphasizes immediate encounters with God through the Holy Spirit. But how should such experience be understood? Is it, in fact, quite so immediate? Neumann argues that Pentecostal experience of God is mediated by the Spirit's work through Scripture, the Christian tradition, and the broader cultural context. Using the work of three contemporary Pentecostal theologians--Frank D. Macchia, Simon K. H. Chan, and Amos Yong--the book demonstrates that a mediated view of experience of God is forging a more mature Pentecostal theology. As further evidence of this maturation, Neumann engages these Pentecostal theologians in ecumenical dialogue with leading representatives from Roman Catholic, Eastern Orthodox, and Protestant traditions.
In this, the first critical study of the major theologians of pentecostalism, Christopher A. Stephenson establishes four original categories that classify recent pentecostal theologians' methodologies in systematic/constructive theology.
In four extended case studies, the book traces the way in which central concepts of the aesthetics later termed "Frankfurt School" were deeply rooted in contemporary developments in painting, photography, architecture and films as well as psychology, advertising and the discipline of art history as it was practised by figures such as Heinrich Wolfflin, Erwin Panofsky, Wilhelm Pinder and Hans Sedlmayr. By studying the emergence and importance of the concepts of 'fashion', 'distraction', 'non-simultaneity' and 'mimesis' in the work of the critical theorists, the book traces the shifting intersection between the history of art and the Frankfurt School and seeks to uncover its specific logic.
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Ministry leader Steve Macchia has come to understand his own brokenness. Writing from his own experience, he offers the gifts of love found in 1 Corinthians 13 as the antidote to our brokenness, along with spiritual assessment tools for the leader's personal reflection. By embracing and befriending our own brokenness, we can find wholeness in God's strength.
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