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God is love. Consequently, shouldn't love exist at the center of Christian theology? When love is at the center, theology is understood differently than it has typically been understood. Some theologians have placed faith at the center, others God's sovereignty, still others-the Church, but Dr. Oord places the emphasis on love. God's love for us, revealed in Christ, in the Church, and in creation, and our love for God and others as ourselves-must be afforded its rightful place. Beginning with the foundation of "love" is what differentiates the Christian faith from others.a loving God. Dr. Oord defines love as: "To love is to act intentionally, in sympathetic/empathetic response to God and others, to promote overall well-being." Is this not what has defined Christians throughout history?
An in-depth exploration of the 'thriller' movie genre.
In John Dahl and Neo-Noir: Examining Auteurism and Genre, Paul Monaco provides a focused inquiry into the first three feature films that director John Dahl made for theatrical release: Kill Me Again (1989), Red Rock West (1993), and The Last Seduction (1994). The importance of these three films, and Monaco's investigation of them, is how they illuminate a modern director's creative process in relation to the emerging genre of neo-noir.
The Scarce Man centers on Agent Mike Rawlings of the Minnesota Bureau of Criminal Apprehension. He is Minnesota's top murder detective and is nearing retirement when he's called in to handle the most baffling and dangerous case of his career. Someone with a violent M.O. is killing certain people in the Minneapolis/St. Paul area. Rawlings deduces that the murders are politically motivated, but what he doesn't know is that the killer, who in the days following 9/11, has become obsessed with the idea that he alone can begin a chain of events that will launch the social revolution he believes will save the country. The killer forms an alter-ego, whom he calls The Patriot. What Rawlings doesn't know, is that the Patriot has inside knowledge that will make him more deadly than anyone he's ever faced; and much harder to stop.
A Revolution for Our Rights is a critical reassessment of the causes and significance of the Bolivian Revolution of 1952. Historians have tended to view the revolution as the result of class-based movements that accompanied the rise of peasant leagues, mineworker unions, and reformist political projects in the 1930s. Laura Gotkowitz argues that the revolution had deeper roots in the indigenous struggles for land and justice that swept through Bolivia during the first half of the twentieth century. Challenging conventional wisdom, she demonstrates that rural indigenous activists fundamentally reshaped the military populist projects of the 1930s and 1940s. In so doing, she chronicles a hidden ...
Part thinking-man's fan crush, part crazily inspired remix of the most beloved of film genres, this book will force scholars and film lovers alike to view film noir afresh
This comprehensive volume chronicles the history of the tractors that have carried the distinctive green and yellow livery for the past century.
"One of the very best film books in recent years. . . . There are any number of books on noir, but none as comprehensive, as rigorous, as far-reaching as Naremore's. . . . It will be the essential work for the field."--Dana Polan, University of Southern California