Audio New Testament with Commentary
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The First 49 Stories About Books
Catalogo importanti NY DEFI_Cataloghino NY 31/03/2010 4.27 Pagina 1 I [ΨΑΛΤΉΡΙΟΝ (Greek Psalter)]. Illuminated manuscript on vellum. [Costantinople, 11th-century (not after 1086)]. Manuscript on vellum (mm 214x170). 320 leaves. Complete. Written in single columns of 17 lines; justification c. mm 140x90. Rounded Greek script (Perlschrift). The text is written in golden ink, now burnished. Three decorative headpieces finely painted in gold and colours. 15th-16th century medieval Greek binding of stamped leather over wooden boards. From the collections of Vice-Abbot Gervasius of Trebizond, Marcus Beza, Sir Sydney Cockerell and Brian S. Cron. Extraordinary Greek psalter, produced in Costantinople in the 11th-cen- tury, beautifully decorated and perfectly preserved in an early binding. The note on leaf 320v, which is not written in the scribe’s hand, provides the earliest reference point for the history of the manuscript referring to an empress, probably Mary of Alania, who took the veil 9 March 1086. The psalter itself obviously belonged originally to someone close to the imperial house. Catalogo importanti NY DEFI_Cataloghino NY 31/03/2010 4.27 Pagina 2 II ALDOBRANDINO da Siena. Régime du corps, translated in Italian. An interpolated version of the translation realized in May 1310 by the Florentine notary Zucchero Bencivenni. Manuscript on paper, Tuscany, end of the 14th century. Folio, mm 280x195, 56 leaves [numb. 1-51 in ink by a contemporary hand, 4 blanks), slightly later boards. Written in an fine umanistica corsiva, by 2 or 3 different hands, one foliated initial in red and brown ink, this manuscript is divided in 4 parts: 1) Régime. -
Paratracks in the Digital Age: Bonus Material As Bogus Material in Blood Simple (Joel and Ethan
Warning Concerning Copyright Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. Werner Huber, Evelyne Keitel, Gunter SO~ (eds.) - I lntermedialities ~ Wissenschaftlicher Verlag Trier Aeier Feb. Paratracks in the Digital Age: Bonus Material as Bogus Material in Blood Simple (Joel and Ethan 919. Coen, 1984/2001) Eckart Voigts-Virchow Introducing the Paratrack: The DVD Audio Commentary ' In the past few years, the DVD has wreaked havoc in the cinema. Just like the video cassette and the laser disc, it serves the movie industry as an ancillary market for theatrical releases - but worries about illegal copying abound. Consumers are as likely to encounter movies in the cinema and on television as in the comfort of their home on Digital Versatile Disk (DVD), which has virtually replaced the VCR tape. The ris zu appearance of the DVD has re-structured the apparatus of film/video and has gene 160- rated an increasing number of varied paratextual traces that bring film closer to Gerard Genette's model of the paratext - the printed codex or book. The practice of attaching audio commentaries to movies had already begun with the laser disc. -
How Superman Developed Into a Jesus Figure
HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE CRISIS ON INFINITE TEXTS: HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE By ROBERT REVINGTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Robert Revington, September 2018 MA Thesis—Robert Revington; McMaster University, Religious Studies McMaster University MASTER OF ARTS (2018) Hamilton, Ontario, Religious Studies TITLE: Crisis on Infinite Texts: How Superman Developed into a Jesus Figure AUTHOR: Robert Revington, B.A., M.A (McMaster University) SUPERVISOR: Professor Travis Kroeker NUMBER OF PAGES: vi, 143 ii MA Thesis—Robert Revington; McMaster University, Religious Studies LAY ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists. iii MA Thesis—Robert Revington; McMaster University, Religious Studies ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations. -
Smart Cinema, DVD Add-Ons and the Re-Educated Viewer
MIT Conference May 13-15th 2011. Unstable Platforms: The Promise and Peril of Transition ‘Teaching Smart Cinema: DVD Add-ons and New Audience Pleasures’ Pat Brereton © [Extracts from ‘Cinema in Transformation: Smart Cinema, DVD Add-ons and New Audience Pleasures’ Palgrave Press 2011/2] Many scholars categorize new digital films, using concepts ranging from database narratives (Manovich), forking path narratives (Bordwell), multiple draft narratives (Branigan and Bordwell), twist films (Wilson 2006), complex narratives (Staiger, 2006), modular narratives (Cameron, 2006), puzzle films (Buckland, 2009) including Elsaesser‟s mind-games taxonomy. All of these terms help to flesh out this study‟s exploration of smart cinema, alongside new forms of digital film making and contemporary audience consumption. The term „Smart cinema‟ acquired popular currency in academic circles in the late 1990s. The most coherent explanation has been put forward by Jeffrey Sconce‟s essay (Screen 2002), who argues that smart films reflect the presence of a growing „culture of irony‟ and parody. Its intended audience is apparently the disillusioned yet highly educated new generation who display a form of ironic contempt and emotional distancing from their surroundings and socio-cultural existence. Smart movies like Donnie Darko broadly encapsulate what have been described as reflexive and playful postmodern texts, which in turn are augmented by the specific attributes of new digital media. These new attributes draw upon technological innovations facilitated by the computer and the internet, alongside the proliferation of video games and music videos, together with other new generational e-pleasures and e-cultural tastes. This paper will use films like Be Kind Rewind to demonstrate the importance of smart cinema for new generations, while drawing on the special issue on DVD add-ons for Convergence (2007) which I edited, that focused on how add-ons can strengthen the overall appeal of this consumer fan-driven medium and at the same time incorporate significant educational applications. -
New Testament Bookmark Printable
New Testament Bookmark Printable ZaryInheriting broaden and stalwartlyunruffable if Pieter epigastric cord Phillipphis preconception pectize or overestimate.cannonades reincorporates then. Cameron harrumphs unpoetically? Copyright The Closure Library Authors. Bible study notes, and so welcome to resize or wrong way of watercolors, when you can color cartoon illustrations will remain more freedom to top and new testament. How to get parents involved in the CCD program. Notify me of new comments via email. You can color it to match your planner. Your files will be available to download once payment is confirmed. It just might be added to the printable library here! Includes detailed textual notes. DIMA Business Solutions Pvt Ltd. Bible like never before with study notes that illuminate the full meaning of each passage. Digital Bible combines the elegance of a premium Bible with exclusive access to the Filament App to connect to study notes, devotionals, videos, interactive visuals, and more. Subtraction Worksheets for Kindergarten! This elegant edition is readable, but at the same time, light to carry. She has thus plan is well, new testament bookmark printable! Browse our great selection of easy to read large print Catholic Bibles. In this book, James points out the dangers that can come when facing trials. So save your sanity and make this books of the Bible numbered list bookmark for kids! Homeschool Mom Blog with Free Printables, Curriculum, Preschool, and More! Bible memory card stock is never find each in reading new testament bookmark printable in different colors, in rural north central missouri with extra chapters. User or password incorrect! Uncover biblical truth for yourself. -
A Corpus-Based Approach to the Language of Audio
UNIVERSITÀ DEGLI STUDI DI NAPOLI FEDERICO II FACOLTÀ DI SCIENZE POLITICHE DIPARTIMENTO DI TEORIE E METODI DELLE SCIENZE UMANE E SOCIALI SCUOLA DI DOTTORATO IN SCIENZE PSICOLOGICHE, PEDAGOGICHE E LINGUISTICHE DOTTORATO DI RICERCA IN LINGUA INGLESE PER SCOPI SPECIALI XXIII CICLO TESI DI DOTTORATO The Language of Filmic Audio Description: a Corpus-Based Analysis of Adjectives CANDIDATA dott.ssa Saveria Arma RELATORE COORDINATORE Prof.ssa Giuditta Caliendo Prof.ssa Gabriella Di Martino NAPOLI 2011 1 The language of filmic audio description. A corpus-based analysis of adjectives Acknowledgements 7 Introduction 10 1 Introduction to audio description 15 1.1 For a definition of audio description 15 1.2 What can be audio described? 24 1.3 How is audio description produced? 25 1.3.1 The audio description process 25 1.3.2 Special guidelines for special genres 28 1.4 What should audio description describe? 33 1.5 Short story of audio description in Europe 40 1.6 Research on audio description: the state of the art 53 1.7 Technical delivery of audio description 71 1.8 Norms and legislation: the European Union framework 84 2 The target audience. Blindness and visual impairment 94 2 2.1 Blindness and visual impairment 94 2.2 Facts and figures about blindness 98 2.3 Blindness as a gender-related concern and costs of blindness 103 2.4 How the human eye works 106 2.5 Blindness-related eye pathologies 107 2.6 The development of visually impaired people 117 2.7 Facilitating knowledge acquisition for visually impaired people 121 2.8 Facilitating access to -
Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
THE BIRD BOOKMARKS at the MILCOM MEMORIAL READING ROOM and ATTENTION LIBRARY
THE BIRD BOOKMARKS AT The MILCOM MEMORIAL READING ROOM and ATTENTION LIBRARY PRESENTED BY THE ESTHETICAL SOCIETY for TRANSCENDENTAL and APPLIED REALIZATION (now incorporating the SOCIETY of ESTHETIC REALIZERS) ETICAL SO H CI ST E E T Y e h f o T r T N R A O I ESTAR ( SER ) N T S C A Z 9 E I N L D A E E N R T D A E L I L & P P A A special supplement to the Proceedings “Souvenir Programs and Pamphlets” (In continuation of “Contributions on the ‘W’ Cache and Related Sources”) Documents Ostensibly Pertaining to the Origins and Development of “The Order of the Third Bird” The Editorial Board of ESTAR(SER) would like to acknowledge the support of its longstanding benefactors (Anonymous, Anonymous, and Anonymous) and the gracious cooperation of the Trustees of the Milcom Estate, the Institute for Sustained Attention, and the Members of the Committee on Archival Installations. THE BIRD BOOKMARKS The Milcom Memorial Reading Room and Attention Library at MANA CONTEMPORARY 2019 THE MILCOM MEMORIAL READING ROOM AND ATTENTION LIBRARY of ESTAR(SER) Alison Burstein curatorial director TRUSTEES D. Graham Burnett (chair) Matthew Jeffrey Abrams Sonali Chakravarti Jeff Dolven Jac Mullen Leonard Nalencz Jessica Palinski Sal Randolph Iciar Sagarminaga Matthew Strother Caitlin Sweeney Honorary and Corresponding† Joanna Fiduccia Catherine L. Hansen David Richardson Justin E. H. Smith Hermione Spriggs Anna Riley b. b. chamberlin fellow About ESTAR(SER): The Esthetical Society for Transcendental and Applied Realization (now incorporating the Society of Esthetic Realizers) is an established body of private, independent scholars and amateurs who work collectively to recover, scrutinize, and (where relevant) draw attention to the historicity of the Order of the Third Bird. -
Futurama Comedy and Writers in the Classroom Sarah J
Klein’s Beer: Futurama Comedy and Writers in the Classroom Sarah J. Greenwald Appalachian State University Introduction Futurama [1] is an animated science fiction comedy with math, science, or programming jokes in almost every television episode. In the same way that history can provide context to mathematics in the classroom, the rich mathematical history of the show’s writers and the stories of their writing motivations can engage students. A combination of comedy references from the show and quotes from the writers is especially effective in helping to alleviate math anxiety and motivate students to learn and connect to mathematics. In this article we will examine numerous Futurama activities for the classroom, including discussions related to the writers and the representation of mathematics in popular culture, as well as activities related to humorous Futurama math references, including computational number theory and geometry. Figure 1: Klein’s Beer [1, 3ACV12 (The Route of All Evil)] Writers and Humor in the Classroom In the course of earning an undergraduate degree in the mathematical sciences, students study a broad range of mathematical techniques and disciplines. The need to master the fundamental skills of mathematics leads in many instances to a perspective in which mathematics exists unconnected to anything else. Students can become so focused on the present that they perceive mathematics as “closed, dead, emotionless, all discovered... [Teachers] can rescue students from the island of mathematics and relocate them on the mainland of life that contains mathematics that is open, alive, full of emotion, and always interesting” [3]. In the same way that real-life applications and technology can help students connect to mathematics, humorous popular culture references and the related history of the writers who create them can also foster connections. -
An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975-1979 Television Series
Dickinson College Dickinson Scholar Faculty and Staff Publications By Year Faculty and Staff Publications Summer 2018 Casting a Wider Lasso: An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975-1979 Television Series Ian Boucher Dickinson College Follow this and additional works at: https://scholar.dickinson.edu/faculty_publications Part of the American Popular Culture Commons, Criminology and Criminal Justice Commons, Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, and the Television Commons Recommended Citation Boucher, Ian. "Casting a Wider Lasso: An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975-1979 Television Series." Popular Culture Review 29, no. 2 (2018). https://popularculturereview.wordpress.com/29_2_2018/ianboucher/ This article is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. Popular Culture Review Casting a Wider Lasso: An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975- 1979 Television Series By Ian Boucher “Every successful show has a multitude of fights, and that the shows are successful sometimes are because of those fights. And sometimes shows aren’t successful because those fights aren’t carried on long or hard enough.” -Douglas S. Cramer “And any civilization that does not recognize the female is doomed to destruction. Women are the wave of the future—and sisterhood is…stronger than anything.” -Wonder Woman, The New Original Wonder Woman (7 Nov. 1975) Abstract Live-action superhero films currently play a significant role at the box office, which means they also play a significant role in culture’s understandings about justice. -
Creative Assignments to Use with ANY Novel
Creative Assignments to use with ANY Novel These assignments and handouts can be used with any novel and for most grade levels. They are meant to be creative supplements for additional assessment. These are great for the kids who are reluctant readers who like hands-on projects and for advanced students who need additional stimulation and motivation. If you enjoy these assignments and find them useful, please take a moment to leave positive feedback. If you have any questions, find errors, or have any concerns, please feel free to email me directly at [email protected] or [email protected]. Thank you! www.teacherspayteachers.com/Store/Tracee-Orman Creative Assignments to use with ANY Novel © 2009, T. Orman Creative Assignments to use with ANY Novel 1. Make a bookmark for the book. Include one or more of the following: a quote from chapter one, a picture of one of the characters that you drew yourself, a map of the town/city or setting, a scene from chapter one, or the title & author in a creative font. (templates on page 8) 2. Re-enact a scene from one of the chapters. Give students a list of characters. They must write a script based on the dialogue of that scene/chapter (or provide a script for them). 3. Compare two characters by using a “scattergories”* analogy, such as: Character A is like a ____________(game kids play) because __________________. Character B is like a ____________(type of fruit) because _____________________. 4. Do the “If I were _______, I would...” activity. Have the students choose one of the characters to “be” and write what they would do if they were that character. -
Francis Ford Coppola As Bricoleur the Making of the Godfather
June 2013 WORKING PAPER SERIES 2013-MAN-05 Francis Ford Coppola as Bricoleur in the Making of the Godfater: An alternative view on Strategy as practice Hedley MALLOCH Birgit KLEYMANN IESEG School of Management (CNRS-LEM) IESEG School of Management Lille Catholic University 3, rue de la Digue F-59000 Lille www.ieseg.fr Tel: 33(0)3 20 54 58 92 Fax: 33(0)3 20 57 48 55 IESEG Working Paper Series 2013-MAN-05 FRANCIS FORD COPPOLA AS BRICOLEUR INTHE MAKING OF THE GODFATHER: AN ALTERNATIVE VIEW ON STRATEGY AS PRACTICE HEDLEY MALLOCH AND BIRGIT KLEYMANN ABSTRACT This paper analyses Francis Ford Coppola’s account of his making of The Godfather, one of the most successful movies in history, in an attempt to understand the role of bricolage in the strategy process. Our theoretical framework is Pettigrew’s (1990, Pettigrew, 1992, Pettigrew et al., 2001) process view of strategy development and Stacey’s (2000, Stacey et al., 2000) ‘bottom-up- teleology’. The contextual variables in which bricolage was enacted were: the history of the project plus four of Caves’ (2000) properties of the creative arts; namely the ‘nobody knows’ property, art for art’s sake, the motley crew property and the O-ring theory of production. Coppola’s account of how the movie project was crafted was transcribed using Nvivo and analysed using content analysis. The authors attempt to show that Coppola can be considered a bricoleur in the sense used by Lévi-Strauss (1962) rather than more recent interpretations. Coppola as bricoleur used human resource acquisition strategy; human resource development; and capability development and acquisition of resources as his repertoire of tools and resources to fashion his masterpiece.