Parable of the Sower Created by Toshi Reagon and Bernice Johnson Reagon
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Notes Definition: a Parable Is a Story Which Indirectly Points to a Truth (Earthly Story with a Heavenly (Kingdom of God) Meaning
Notes Definition: A parable is a story which indirectly points to a truth (earthly story with a heavenly (Kingdom of God) meaning. With Jesus, he is teaching about a way of living, being in a kingdom, that can be chosen, that has no territory except where God’s sovereignty and will is honored. His stories provide insights, stimulate the conscience, and move one to action. They are concise and marked by simplicity (never more than two persons or groups in the same scene, like in Hebrew stories). Sometimes they reverse one’s expectations (just as God’s way is different from our way). They arise in a context so that they speak to the situation. Occasionally, they are grouped together for greater impact (e.g., the lost sheep, the lost coin, the lost sons). They reflect the agenda of the gospel, and they are in the synoptic gospels and none in John. Interpretation: Hear them as stories from an oral culture, note their construction, consider the “gaps,” determine the function in the life and teachings of Jesus. Different parables: Parable of the sower (a parable about parables or the message of Jesus—importance in proclamation and the response) Three points: The kingdom is a kingdom of the word. The parable calls for attention and a reorientation of one’s life. The kingdom is presently at work—harvest is now and ahead. The unforgiving servant—the forgiveness of God must be replicated in the lives of the forgiven. (Similar to Luke 7—story told to Simon the Pharisee about the two who owed money, 1 one 500 pieces of silver and another 50. -
Toshi Reagon & Biglovely
Toshi Reagon & BIGLovely “Whether playing solo or with her band, [Toshi’s] fusion of styles and forms draws listeners in, embraces them and sets them off in a rapturous, hand-raising, foot-stomping delight.” -RighteousBabe.com About Toshi Reagon and BIGLovely Toshi Reagon is a versatile singer-songwriter-guitarist, drawing on the traditions of uniquely American music: rock, blues, R&B, country, folk, spirituals and funk. Born in Atlanta and raised in Washington DC, she comes from a musical—and political—family. Both her parents were civil rights activists in the 1960s, and founding members of The Freedom Singers, a folk group that toured the country to teach people about civil rights through song as part of the Student Nonviolent Coordinating Committee. Her mother, Bernice Johnson Reagon, is also a founder of the legendary a cappella group, Sweet Honey in the Rock. Toshi has been performing since she was 17 years old. Her career really launched when Lenny Kravitz chose her, straight out of college, to open for him on his first world tour. Some of Toshi’s proudest moments include playing for her godfather Pete Seeger’s 90th birthday celebration at Madison Square Garden, and performing with the Freedom Singers at the White House, in a tribute to the music of the civil rights movement. As a composer and producer, Toshi has created original scores for dance works, collaborated on two contemporary operas, served as producer on multiple albums, and has had her own work featured in films and TV soundtracks, including HBO and PBS programs. BIGLovely did its first performance as a band in 1996. -
GA 2010 24.Indd
_____________________________________ ____________________ ____________________ __________________________ ___________ ____________________ ____________________ __________________________ ___________ _ _ __________________ _ _ __________________ _ _ _________________ _ _ __________________ _ _ __________________ _ _ __________________ _ _ __________________ _ Its Heritage and Its Promise ___________________ _ ____________________ ____________________ ___________________Georgia: _ ____________________ ___________________ _ _______________________________________600 _ ____________________ _ _ __________________ _ _ __________________ _ _ __________________ _ _ __________________ 601 _ _ __________________ _ _ __________________ _ _ __________________ rst century, rst _ _ __________________ _ _ __________________ _ _ __________________ _ _ __________________ is was a time of Th _ _ __________________ Modern Georgia nal transformation nal _ _ __________________ _ _ _________________ _ _ __________________ Unit VII: ____________________ ________ __________ of the twenty-fi rst nine years _ _ _ __________________ _ _ __________________ is period saw the fi ciency to education. Georgia was once _ _ __________________ _ _ __________________ _ _ __________________ was movement e nonviolent met with massive _ _ __________________ _ _ __________________ metropolitan Atlanta’s population increased by almost 30 percent. increased by population metropolitan Atlanta’s Since 1950, metropolitan Atlanta has grown from a population of just from a population Since 1950, metropolitan Atlanta has grown _ _ __________________ _ _ __________________ under 1 million to almost 6 million, making it one of the fastest-growing under 1 million to _ _ __________________ _ _ __________________ cities in the United States. In just the fi States. cities in the United _ _ __________________ _ _ __________________ _ _ __________________ _ _ __________________ elds were Georgia born and raised. Th __________________________ ects of growth brought challenges. -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. -
Workers in the Vineyard
Workers in the Vineyard This parable (Mt 20:1-16) is about several workers who are hired by a land owner, over different periods of time. In the evening, the workers who are hired first expect to be paid more than those hired later. But the owner pays all of the workers equally. Land Owner: Most of the productive land was held by large-scale elite owners. From the First Temple period through the Second, a pronounced shift in the patterns of land tenure took place, shifting from smallholders producing the Mediterranean triad of grain, grapes and olives for subsistence to large estates orientated to large-scale production and export crops. The owner in this parable is one of the wealthy sub-elites who owned large estates and converted the land to viticulture dedicated to the production of export crops. Laborers: The social order consisted of a patron-and-client society of unequal relationships with the estate owners assuming the role of patrons and those who have lost the land becoming their clients. In such a relationship the client’s wellbeing is determined by the closeness of rapport he maintains with the patron. The landless laborers in the parable did not belong to the ambit of such a relationship. They were outside of any assured protection and regular work opportunity and, hence, more vulnerable to be deprived of their basic wages even on rare occasions when they found a work to do. Early workers: The working hours of the Israelites were 12 and was counted from 6:00 A.M. -
Eden, Just Not Ours Yet: on Parable of the Trickster and Utopia
Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 1-2019 Eden, Just Not Ours Yet: On Parable of the Trickster and Utopia Gerry Canavan Marquette University, [email protected] Follow this and additional works at: https://epublications.marquette.edu/english_fac Part of the English Language and Literature Commons Recommended Citation Canavan, Gerry, "Eden, Just Not Ours Yet: On Parable of the Trickster and Utopia" (2019). English Faculty Research and Publications. 533. https://epublications.marquette.edu/english_fac/533 1 Gerry Canavan (Associate Professor, Marquette University) [email protected] // 414-899-7799 Eden, Just Not Ours Yet: On Parable of the Trickster and Utopia The last chapter of Octavia E. Butler’s Parable of the Talents (1998) sees an aged Lauren Olamina in 2090, surrounded by several of her most devoted disciples at the launch of the first Earthseed mission, the beginning of the extrasolar colonization project to which she has devoted her entire adult life. We are told very early on in Parable of the Sower (1993), when Olamina is still a young teenager, that “The Destiny of Earthseed is to take root among the stars” (Butler Sower 85)—and by the end of Talents that dream seems to have been achieved, though it has personally cost Olamina nearly everything else in her life, including her daughter, her husband, her brother, and her personal safety. She herself is now much too old to go on such a mission, a Moses permanently denied her own Promised Land—though she imagines her ashes someday being brought to one of the Earthseed colonies after her death. -
A Building for All Seasons
Fall/Winter 2019 Fall/WinterFall A Building for All Seasons ... From the WCAA Director Dear Westerners, e hope you are in the midst of a joyous and holiday season. We are wrapping up a busy and impactful year here at the WCAA. W I am pleased to report Alumnae Weekend was a huge success this year. We had a great time and it was great fun to hear all the memo- ries being shared and watch new friendships being made. I hope you plan to come back home next year. Please also be on the watch for alumnae events near you. We encourage you to contact the WCAA office to plan a get-together in your area. We will be happy to attend and to help with all the planning. Mackenzie The Board of Trustees met three times this year. Each was an incredibly productive meeting. At all of them — but especially the last meeting in October — the Board spent a lot of time preparing for the sunset of the WCAA Inc. in 2024. As most of you are probably attuned to by now, I love quotes. Shortly after the last meeting, I saw this from an unknown author: A bird sitting in a tree is never afraid of the branch breaking, because its trust is not in the branch, but in its wings. It struck me as a powerful metaphor for what the Board is so faithfully doing. Our branch, the WCAA Inc. itself, will be changing form in 2024. Rightfully so, the Board spends their time not worrying about the branch, as the decision to close down was made years ago. -
Ockham's Razor, Truth, and Information
Ockham's Razor, Truth, and Information Kevin T. Kelly Department of Philosophy Carnegie Mellon University [email protected] March 11, 2008 Abstract In science, one faces the problem of selecting the true theory from a range of al- ternative theories. The typical response is to select the simplest theory compatible with available evidence, on the authority of \Ockham's Razor". But how can a ¯xed bias toward simplicity help one ¯nd possibly complex truths? A short survey of standard answers to this question reveals them to be either wishful, circular, or irrelevant. A new explanation is presented, based on minimizing the reversals of opinion prior to convergence to the truth. According to this alternative approach, Ockham's razor does not inform one which theory is true but is, nonetheless, the uniquely most e±cient strategy for arriving at the true theory, where e±ciency is a matter of minimizing reversals of opinion prior to ¯nding the true theory. 1 Introduction Suppose that several or even in¯nitely many theories are compatible with the infor- mation available. How ought one to choose among them, if at all? The traditional and intuitive answer is to choose the \simplest" and to cite Ockham's razor by way of justi¯cation. Simplicity, in turn, has something to do with minimization of entities, de- scription length, causes, free parameters, independent principlies, or ad hoc hypotheses, or maximization of unity, uniformity, symmetry, testability, or explanatory power. Insofar as Ockham's razor is widely regarded as a rule of scienti¯c inference, it should help one to select the true theory from among the alternatives. -
THE GOOD SAMARITAN AS METAPHOR Robert W
THE GOOD SAMARITAN AS METAPHOR Robert W. Funk University of Montana ABSTRACT The parable of the Good Samaritan is commonly under stood as an example story, offering an example of what it means to be a good neighbor. But the parable does not invite the hearer to view it as an example of what it means to be a good neighbor. Rather, it invites the auditor to be the victim in the ditch, as a careful reading indicates. The "meaning" of the parable is the way auditors take up rôles in the story and play out the drama. As a drama into which the hearers are drawn, the parable suggests that in the Kingdom mercy is always a surprise. 0. Literary and biblical critics have always deemed it an important matter to determine the kind of language being used in any text to be interpreted. In some cases it is crucial. For example, the argument over whether the parable of the Good Samaritan is a parable or an example story can be settled only in conjunction with determining the nature of the language. The view advocated here is that the Good Samaritan is metaphorical and there fore not an example story (cf. Funk: 199-222). This understanding runs counter to both the ancient and the modern traditions of interpretation. Dominic Crossan has joined the battle on the side of metaphor, while Dan Via has supported the older view with structuralist arguments (Semeia 1, 1974). The Good Samaritan is a particularly interest ing case because the story is felt to be a powerful symbol in the Jesus tradition and yet it is taken literally by most interpreters. -
Gender in Dystopia: the Persistence of Essentialist Ideologies in Octavia Butler's Parable of the Sower
The Pegasus Review: UCF Undergraduate Research Journal (URJ) Volume 11 Issue 1 Article 3 2020 Gender in Dystopia: The Persistence of Essentialist Ideologies in Octavia Butler's Parable of the Sower Elijah Drzata University of Central Florida Part of the English Language and Literature Commons Find similar works at: https://stars.library.ucf.edu/urj University of Central Florida Libraries http://library.ucf.edu This Article is brought to you for free and open access by the Office of Undergraduate Research at STARS. It has been accepted for inclusion in The Pegasus Review: UCF Undergraduate Research Journal (URJ) by an authorized editor of STARS. For more information, please contact [email protected]. Recommended Citation Drzata, Elijah (2020) "Gender in Dystopia: The Persistence of Essentialist Ideologies in Octavia Butler's Parable of the Sower," The Pegasus Review: UCF Undergraduate Research Journal (URJ): Vol. 11 : Iss. 1 , Article 3. Available at: https://stars.library.ucf.edu/urj/vol11/iss1/3 Drzata: Gender in Dystopia Published Vol. 11.1: 18-23 June 21, 2019 THE PEGASUS REVIEW: UNIVERSITY OF CENTRAL FLORIDA UNDERGRADUATE RESEARCH JOURNAL Gender in Dystopia: The Persistence of Essentialist Ideologies in Octavia Butler's Parable of the Sower By: Elijah Drzata Faculty Mentor: Farrah Cato UCF Department of English ABSTRACT: If we were living in a dystopian society, we might view gender, sexuality, and race differently. When survival is on the line, it would be a privilege to fight back against any remaining bigotry. Octavia Butler’s novelParable of the Sower provides us with possible answers to these situations, as well as a look into the future of society if we do not change. -
The Sounds of Liberation: Resistance, Cultural Retention, and Progressive Traditions for Social Justice in African American Music
THE SOUNDS OF LIBERATION: RESISTANCE, CULTURAL RETENTION, AND PROGRESSIVE TRADITIONS FOR SOCIAL JUSTICE IN AFRICAN AMERICAN MUSIC A Thesis Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Professional Studies by Luqman Muhammad Abdullah May 2009 © 2009 Luqman Muhammad Abdullah ABSTRACT The cultural production of music in the Black community has traditionally operated as much more than a source of entertainment. In fact, my thesis illustrates how progressive traditions for social justice in Black music have acted as a source of agency and a tool for resistance against oppression. This study also explains how the music of African Americans has served as a primary mechanism for disseminating their cultural legacy. I have selected four Black artists who exhibit the aforementioned principles in their musical production. Bernice Johnson Reagon, John Coltrane, Curtis Mayfield and Gil Scott-Heron comprise the talented cadre of musicians that exemplify the progressive Black musical tradition for social justice in their respective genres of gospel, jazz, soul and spoken word. The methods utilized for my study include a socio-historical account of the origins of Black music, an overview of the artists’ careers, and a lyrical analysis of selected songs created by each of the artists. This study will contribute to the body of literature surrounding the progressive roles, functions and utilities of African American music. BIOGRAPHICAL SKETCH My mother garners the nickname “gypsy” from her siblings due to the fact that she is always moving and relocating to new and different places. -
“The Parable of the Two Gates & Two Ways”
ALL THE PARABLES OF JESUS A SYSTEMATIC SERIES UNVEILING GODS ETERNAL TRUTH IN THE PARABOLIC TEACHINGS OF JESUS CHRIST MEDIA REFERENCE NUMBER WN-614 MARCH 26, 2014 THE TITLE OF THE MESSAGE: “The Parable Of The Two Gates & Two Ways” ALL THE PARABLES OF JESUS UNVEILED SUBJECT TOPICALLY REFERENCED UNDER: Foolish Living, Unprepared, Poor Toward God, Wasted, Hell Matthew 7:13-14 Remember church, what a parable is? A parable is a common word-picture which is used as an image or story to illustrate a deeper truth or lesson. It creates in the mind of the hearer a “mini-drama” of pictures painted by words that describes the reality of the illustration. A parable shows a likeness between the image of an illustration and the object being illustrated. It defines the unknown by using the known. It helps the listener to discover the deeper meaning and underlying truth of what a common reality can represent. A parable can be a figure of speech or a comparison to better see an eternal, spiritual reality. This Is a Parable That’s Often Missed for Being a Parable Because this is a unique type of Parable because of where it is placed by Jesus. Here He gives it at the end of the Sermon on the Mount. So, applying what we know about a Parable’s purpose – The Sermon on the Mount is summed up or graphically presented or “Brought to Life” with this Parabolic Illustration. Matt. 7:13-14 “Enter by the narrow gate; for wide is the gate and broad is the way that leads to destruction, and there are many who go in by it.