This book was prepared for lay people, congregational leaders, pastors, church musicians, worship leaders, and worship committees. It provides an answer for those who are asking the question: What does it mean to worship as a Lutheran in the twenty-first century? The goal of the book is twofold: In today's context, with so many different and confusing opinions about worship, this book provides lay people and pastors with a clear and understandable presentation of Lutheran theology for Lutheran worship. It gives positive direction and equips worship leaders with concrete practical tools to evaluate contemporary worship forms, when these forms are considered for use in the Lutheran congregation.
This book was prepared for lay people, congregational leaders, pastors, church musicians, worship leaders, and worship committees. It provides an answer for those who are asking the question: What does it mean to worship as a Lutheran in the twenty-first century? The goal of the book is twofold: In today's context, with so many different and confusing opinions about worship, this book provides lay people and pastors with a clear and understandable presentation of Lutheran theology for Lutheran worship. It gives positive direction and equips worship leaders with concrete practical tools to evaluate contemporary worship forms, when these forms are considered for use in the Lutheran congregation.
This volume discusses conceptual elements of messianic traditions that are identified in the Parables of Enoch and the Letters of Paul by examining the nature and functions of the divine figure and of the messiah figure. Comparative analysis presented here demonstrates that the Parables of Enoch and the Letters of Paul share specific conceptual elements of messianic traditions. The combination of shared elements is so striking as to preclude the possibility that the Parables of Enoch and the Letters of Paul constituted independent, parallel developments. It cannot be claimed, however, that Paul was familiar with the text of the Parables of Enoch; there are no direct quotes of the Parables anywhere in Paul's Letters. Waddell does however show that Paul was familiar with the conceptual elements of the Enochic messiah, and that Paul developed his concept of the Kyrios out of the Son of Man traditions in the Book of the Parables of Enoch. Waddell specifically argues Pauline christology was at the very least heavily influenced by Enochic Son of Man traditions.
The last shot of the Civil War was fired, not on an obscure battlefield, but in the ice-locked Sea of Okhotsk off Siberia seven months after Lee’s surrender. The last armed Confederate cruiser was the C.S.S. Shenandoah, a beautiful but dangerous vessel which scattered and burned the New Bedford whaling fleet in Arctic waters. She was the last cruiser sent to sea by James Dunwoody Bulloch, the captain who built the Confederacy’s navy in the shipyards of Europe. Constructed at a cost of £53,715, the Shenandoah captured thirty-eight ships and burned thirty-two. She inflicted damage to Union commerce which was officially judged at $1,361,983. She took 1,053 prisoners. In fact, she took so many her skipper, Lieutenant-Commanding James Waddell, had to rig a chain of whaleboats that could be towed along by his vessel, to accommodate captured Union seamen and the crews of the whalers he had burned. A few years after the war, Waddell wrote his account of the Shenandoah’s great cruise, and it is published here complete for the first time. He tells of his own career in the United States Navy and in the Confederate Navy, and also of the events leading up to his taking command of the Shenandoah.
Vast, mysterious, and inaccessible for centuries, the Everglades is famous worldwide. Much of this unique landscape is protected within Everglades National Park, as are exotically named places such as Flamingo, Ten Thousand Islands, Florida Bay, Anhinga Trail, Shark Valley, and Pahayokee. Dedicated in 1947, the park receives nearly a million visitors in most years who come to experience the Everglades and its alligators, crocodiles, Florida panthers, anhingas, roseate spoonbills, and egrets. It was egrets--or rather, their courtship plumes decorating ladies' hats--that jump-started the movement to save the wetlands as a park. The Everglades was home to archaic people for thousands of years and also holds the stories of the indigenous Tequesta, Spanish and British colonialists, Mikasuki-speaking Native Americans (and the soldiers who sought to expel them), pioneer settlers, activists who created the park, residents of south Florida, and generations of visitors who have experienced the tropical wilderness of Everglades National Park.
The Second World War was in the bottom of the ninth inning in Germany and Japan, but back at home the bases were loaded with baseball players, many of them new to the big leagues. While the game's stars traded their stockings and gloves for khaki and rifles, America's leaders believed baseball would boost morale at home. Teams filled out their rosters with retired stars such as Jimmie Foxx and Babe Herman; with players like Pete Gray and Dick Sipek, whose disabilities had kept them out of the majors; and with teenagers like 17-year-olds Putsy Caballero and Tommy Brown. But while the level of major league talent had reached its nadir, war-weary fans packed the ballparks, eagerly following pennant races as intense as any that preceded the war.
Across more than six generations -- beginning before the Revolutionary War -- the Breckinridge family has produced a series of notable leaders. These often controversial men and women included a presidential candidate, a U.S. vice president, cabinet members, generals, women's rights advocates, congressmen, editors, reformers, authors, and church leaders. Along with success, the Breckinridges, like other Americans, faced hardship and war, contended with race, lived through difficult family situations -- including a sex scandal -- and encountered personal and political failure. An articulate, opinionated, and frank family, the Breckinridges have left a detailed record that allows us a vivid recreation of the range of American history and society.
The outrageousness of heavy metal music has always been writ brash in its raucous album cover art. Heavy Metal Thunder is a dungeonful of metal overload, complete with leather-panted, huge-haired rockers and all the drooling beasts, swords and skulls a headbanger could want. Heavy Metal Thunder charts the course of the metal juggernaut through the prime canvas of its style and imagery: the album cover. From the glory days of the late '70s to the first modern metal movement (the New Wave of British Heavy Metal, or NWOBHM) through the MTV era, when glam and hair metal ruled, to the punk-inflected revolutions of thrash and Nu Metal (with a side trip into grunge) on to the gory contemporary subgenres of grindcore, black metal and doom, this chunky book is chock-full of covers that rule. Page after page of mind-blowing imagery makes Heavy metal thunder a riot of epic art from music that continues to rock and roll (all night)!
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