Rites in the Spirit is a book about spirituality, ritual, and Pentecostal experience. The volume presents a careful and innovative study of Pentecostal practices and experiences. Focusing on the very important, but often intriguing worship rites that express the spirituality of Pentecostals, Albrecht discovers that these Pentecostal/charismatic rites and their attending sensibilities also function to shape, nurture, authenticate and even transform the spiritual lives of these Christians. Rites in the Spirit seeks to guide Pentecostals, and the charismatically-inclined, toward self-interpretation and a more nuanced conception of, and a deeper appreciation for, their Pentecostal experience. The volume also aims to make a sometimes exotic spirituality more accessible and understandable to those who have had limited contact with Pentecostal/charismatic forms and expressions.
Rites in the Spirit is a book about spirituality, ritual, and Pentecostal experience. The volume presents a careful and innovative study of Pentecostal practices and experiences. Focusing on the very important, but often intriguing worship rites that express the spirituality of Pentecostals, Albrecht discovers that these Pentecostal/charismatic rites and their attending sensibilities also function to shape, nurture, authenticate and even transform the spiritual lives of these Christians. Rites in the Spirit seeks to guide Pentecostals, and the charismatically-inclined, toward self-interpretation and a more nuanced conception of, and a deeper appreciation for, their Pentecostal experience. The volume also aims to make a sometimes exotic spirituality more accessible and understandable to those who have had limited contact with Pentecostal/charismatic forms and expressions.
In several proofs from the theory of finite-dimensional Lie algebras, an essential contribution comes from the Jordan canonical structure of linear maps acting on finite-dimensional vector spaces. On the other hand, there exist classical results concerning Lie algebras which advise us to use infinite-dimensional vector spaces as well. For example, the classical Lie Theorem asserts that all finite-dimensional irreducible representations of solvable Lie algebras are one-dimensional. Hence, from this point of view, the solvable Lie algebras cannot be distinguished from one another, that is, they cannot be classified. Even this example alone urges the infinite-dimensional vector spaces to appear on the stage. But the structure of linear maps on such a space is too little understood; for these linear maps one cannot speak about something like the Jordan canonical structure of matrices. Fortunately there exists a large class of linear maps on vector spaces of arbi trary dimension, having some common features with the matrices. We mean the bounded linear operators on a complex Banach space. Certain types of bounded operators (such as the Dunford spectral, Foia§ decomposable, scalar generalized or Colojoara spectral generalized operators) actually even enjoy a kind of Jordan decomposition theorem. One of the aims of the present book is to expound the most important results obtained until now by using bounded operators in the study of Lie algebras.
A glittering cultural tour of Europe's major capitals during a period of intense musical change. This volume continues the study of the eighteenth century begun in Haydn, Mozart, and the Viennese School 1740–1780 (1995) by focusing on the capital cities other than Vienna that were most important in the creation and diffusion of new music. It tells of events in Naples, where Vinci and Pergolesi went beyond their pre-1720 models to cultivate opera in a simpler, more direct manner, soon after christened the galant style. No less central was Venice, where Vivaldi perfected the concerto, on which were patterned the early symphonies and the newer kind of sonata. Dresden profited first from all these achievements and became, under Hasse's direction, the foremost center of Italian opera in Germany. Mannheim with its great orchestra did much to shape the modern symphony. A few years later, Paris became paramount, especially for its Opéra-Comique; during the 1770s the Opéra provided Gluck with a stage on which to cap his long international career. The book concludes with a description of Christian Bach in London, Paisiello in Saint Petersburg, and Boccherini in Madrid. This long-awaited book offers a view of eighteenth-century music that is broad and innovative while remaining sensitive to the values of those times and places. One comes away from it with an understanding of the European context behind the triumphs of Haydn and Mozart. Lavishly illustrated with music examples and reproductions, both in black-and-white and color, this master study will be of inestimable importance to scholars, cultural historians, performers, and all music lovers.
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