Few New Testament topics have been discussed as often and as intensely as Q, the hypothesized second major source alongside the gospel of Mark for the gospels of Matthew and Luke, and the parables. And yet, no monograph to date has been devoted to considering the parables in Q. In addition to filling this gap in New Testament scholarship, Dieter T. Roth addresses the need to move scholarship on both Q and the parables forward along methodological and interpretive lines. Roth considers Q not as a text behind Matthew and Luke that needs to be reconstructed but rather as an intertext between Matthew and Luke that offered plots, characters, and images in parables that were taken up by Matthew and Luke and utilized in their own respective texts. In addition, Roth draws on recent parables research in his examination of the 27 parables in Q (two spoken by John the Baptist, one by the Centurion, and 24 by Jesus) in order to consider their purpose and function in this early Christian text.
In The Text of Marcion’s Gospel Dieter T. Roth offers a new, critical reconstruction of Marcion’s Gospel including various levels of certainty for readings in this Gospel text. An extensive history of research, overview of both attested and unattested verses in the various sources, and methodological considerations related, in particular, to understanding the citation customs of the sources set the stage for a comprehensive analysis of all relevant data concerning Marcion’s Gospel. On the basis of this new reconstruction significant issues in the study of early Christianity, including the relationship between Marcion’s Gospel and Luke and the place of Marcion in the history of the canon and the formation of the fourfold Gospel, can be considered anew.
Laser Processing and Chemistry gives an overview of the fundamentals and applications of laser-matter interactions, in particular with regard to laser material processing. Special attention is given to laser-induced physical and chemical processes at gas-solid, liquid-solid, and solid-solid interfaces. Starting with the background physics, the book proceeds to examine applications of laser techniques in micro-machining, and the patterning, coating, and modification of material surfaces. This fourth edition has been revised and enlarged to cover new topics such as 3D microfabrication, advances in nanotechnology, ultrafast laser technology and laser chemical processing (LCP). Graduate students, physicists, chemists, engineers, and manufacturers alike will find this book an invaluable reference work on laser processing.
Sculptor, poet, diarist, graphic designer, pioneer artist's book maker, performer, publisher, musician, and, most of all, provocateur, Dieter Roth has long been beloved as an artist's artist. Known for his mistrust of all art institutions and commercial galleries--he once referred to museums as funeral homes--he was also known for his generosity to friends, his collaborative spirit, and for including his family in his art making. Much to the frustration of any gallery that tried to exhibit his work (supposedly none more than once), Roth thumbed his nose at those who valued high purpose and permanence in art. Constantly trying to undo his art education, he would set up systems that discouraged the conventional and the consistent: he drew with both hands at once, preserved the discarded, and reveled in the transitory. Grease stains, mold formations, insect borings, and rotting foodstuffs were just some of the materials used, both out of a fascination with their painterly, textural aspects and for their innate ability to make time visible and play to chance. "More is better," he once said, and more there always was. Roth never stopped working, and he believed that everything could be art, from his sketch pad to the table he sat at, the telephone he talked on, or his friend's kitchen (the kitchen was later sold to a museum). Roth Time: A Dieter Roth Retrospective is published to mark the first major survey exhibition of the artist's work since his death in 1998. Five decades of drawings, graphics, books, paintings, objects, installations, films and video works are represented. The publication offers a window into Roth's creative world, reflecting him and his era. The exhibition is organized by the Schaulager with The Museum of Modern Art, New York and the Museum Ludwig, Cologne.
This book presents the physical concepts and tools to characterize and describe the formation of metastable solids from undercooled melts. Its aim is to facilitate understanding of the development of the science and technology of solidification of melts and to introduce new concepts within this exciting research field in order to fulfil the challenges of the future in the field of undercooled melts. A comprehensive description of the science and applications of the undercooling phenomenon is given. It is composed of several main parts: experimental techniques for undercooling; characterization of the undercooled melt as the first step in rapid solidification; introducing the concepts of modern theories of rapid dendrite and eutectic growth and their comparison with experimental results, and a survey of metastable materials formed from the non-equilibrium state of an undercooled melt.* Showing clear links to possible application of results obtained from basic research * The subject matter is multidisciplinary and will be of interest to material scientists, physicists, physical chemists, mechanical and electrical engineers
In The Text of Marcion’s Gospel Dieter T. Roth offers a new, critical reconstruction of Marcion’s Gospel including various levels of certainty for readings in this Gospel text. An extensive history of research, overview of both attested and unattested verses in the various sources, and methodological considerations related, in particular, to understanding the citation customs of the sources set the stage for a comprehensive analysis of all relevant data concerning Marcion’s Gospel. On the basis of this new reconstruction significant issues in the study of early Christianity, including the relationship between Marcion’s Gospel and Luke and the place of Marcion in the history of the canon and the formation of the fourfold Gospel, can be considered anew.
Sculptor, poet, diarist, graphic designer, pioneer artist's book maker, performer, publisher, musician, and, most of all, provocateur, Dieter Roth has long been beloved as an artist's artist. Known for his mistrust of all art institutions and commercial galleries--he once referred to museums as funeral homes--he was also known for his generosity to friends, his collaborative spirit, and for including his family in his art making. Much to the frustration of any gallery that tried to exhibit his work (supposedly none more than once), Roth thumbed his nose at those who valued high purpose and permanence in art. Constantly trying to undo his art education, he would set up systems that discouraged the conventional and the consistent: he drew with both hands at once, preserved the discarded, and reveled in the transitory. Grease stains, mold formations, insect borings, and rotting foodstuffs were just some of the materials used, both out of a fascination with their painterly, textural aspects and for their innate ability to make time visible and play to chance. "More is better," he once said, and more there always was. Roth never stopped working, and he believed that everything could be art, from his sketch pad to the table he sat at, the telephone he talked on, or his friend's kitchen (the kitchen was later sold to a museum). Roth Time: A Dieter Roth Retrospective is published to mark the first major survey exhibition of the artist's work since his death in 1998. Five decades of drawings, graphics, books, paintings, objects, installations, films and video works are represented. The publication offers a window into Roth's creative world, reflecting him and his era. The exhibition is organized by the Schaulager with The Museum of Modern Art, New York and the Museum Ludwig, Cologne.
Art polymath extraordinaire, Dieter Roth (1930-1998) maintained throughout his career an output so prodigious and various that art historians and fans are still struggling to keep up. Bringing innovations to media such as installation, sculpture, artist's books, jewelry and writing, Roth also traveled and collaborated extensively, becoming one of the postwar art scene's most visible personalities. Roth kept a close circle of artist friends with whom he collaborated, and to whom he made regular gifts of works that he named "Souvenirs." These friends included Richard Hamilton, Dorothy Iannone, Hansjörg Mayer, Martin Suter and Jan Voss, and the gifts included works of mail art, which Roth would gleefully subject to the vicissitudes of the postal system ("Has it arrived yet?" Voss recalls Roth asking him, of one such gift; "Has it already been nicely destroyed?"). Dieter Roth: Souvenirs is the first presentation of these works."--Publisher description.
Few New Testament topics have been discussed as often and as intensely as Q, the hypothesized second major source alongside the gospel of Mark for the gospels of Matthew and Luke, and the parables. And yet, no monograph to date has been devoted to considering the parables in Q. In addition to filling this gap in New Testament scholarship, Dieter T. Roth addresses the need to move scholarship on both Q and the parables forward along methodological and interpretive lines. Roth considers Q not as a text behind Matthew and Luke that needs to be reconstructed but rather as an intertext between Matthew and Luke that offered plots, characters, and images in parables that were taken up by Matthew and Luke and utilized in their own respective texts. In addition, Roth draws on recent parables research in his examination of the 27 parables in Q (two spoken by John the Baptist, one by the Centurion, and 24 by Jesus) in order to consider their purpose and function in this early Christian text.
This volume discusses the music-related works and collaborative projects of Dieter Roth in Concrete poetry, the Vienna Group, Fluxus and artists' music. It includes a DVD with an excerpt from the video recording of the Abschöpfsymphonie of 1979.
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