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Straightforward answers to the toughest Bible questions. Alex McFarland and Bert Harper, hosts of the nationally syndicated broadcast Exploring the Word, have answered live questions from listeners throughout North America for more than ten years. Drawing on their years of experience as pastors, scholars, and Bible researchers, Alex and Bert offer well-reasoned responses to their most frequently asked questions in '100 Bible Questions and Answers'. Readers will - develop a solid understanding of the Bible's message, - learn how to explain the Bible's toughest passages, - gain practical insight on how to strengthen their spiritual walk - improve their confidence in sharing their faith, and - become equipped to speak up and stand up for their convictions. Grow deeper in your relationship with Christ by enriching your understanding of the Bible, God's love letter to you.
Senshi was born in 964 and died in 1035, in the Heian period of Japanese history (794-1185). Most of the poems discussed here are what may loosely be called Buddhist poems, since they deal with Buddhist scriptures, practices, and ideas. For this reason, most of them have been treated as examples of a category or subgenre of waka called Shakkyoka, ""Buddhist poems."" Yet many Shakkyoka are more like other poems in the waka canon than they are unlike them. In the case of Senshi's ""Buddhist poems,"" their language links them to the traditions of secular verse. Moreover, the poems use the essentially secular public literary language of waka to address and express serious and relatively private religious concerns and aspirations. In reading Senshi's poems, it is as important to think about their relationship to the traditions and conventions of waka and to other waka texts as it is to think about their relationship to Buddhist thoughts, practices, and texts. The Buddhist Poetry of the Great Kamo Priestess creates a context for the reading of Senshi's poems by presenting what is known and what has been thought about her and them. As such, it is a vital source for any reader of Senshi and other literature of the Heian period.
"Royal power, oil, and puritanical Islam are primary elements in Saudi Arabia's rise to global influence. Oil is the reason for Western interest in the kingdom and the foundation for commercial, diplomatic, and strategic relations. Were it not for oil, the government of Saudi Arabia would lack the resources to construct a modern economy and infrastructure, and to thrust the kingdom into regional prominence. Were it not for oil, Saudi Arabia would not be able to fund institutions that spread its religious doctrine to Muslim and non-Muslim countries. That doctrine, commonly known as Wahhabism, is a puritanical form of Islam that is distinctive in a number of ways, most visibly for how it makes public observance of religious norms a matter of government enforcement rather than individual disposition and social conformity, as it is in other Muslim countries."-from the IntroductionSaudi Arabia is often portrayed as a country where religious rules dictate every detail of daily life: where women may not drive; where unrelated men and women may not interact; where women veil their faces; and where banks, restaurants, and cafes have dual facilities: one for families, another for men. Yet everyday life in the kingdom does not entirely conform to dogma. David Commins challenges the stereotype of Saudi Arabia as a country immune to change by highlighting the ways that urbanization, education, consumerism, global communications, and technological innovation have exerted pressure against rules issued by the religious establishment.Commins places the Wahhabi movement in the wider context of Islamic history, showing how state-appointed clerics built on dynastic backing to fashion a model society of Sharia observance and moral virtue. Beneath a surface appearance of obedience to Islamic authority, however, he detects reflections of Arabia's heritage of diversity (where Shi'ite and Sufi tendencies predating the Saudi era survive in the face of discrimination) and the effects of its exposure to Western mores.
Enjoy a rich collection of folktales, myths and legends from all over Africa and the Caribbean, re-told for young readers. From the trickster tales of Anansi the spider, to the story of how the leopard got his spots; from the tale of the king who wanted to touch the moon, to Aunt Misery's magical starfruit tree. This book includes traditional favourites and classic folktales and mythology.
This is the sixth and final volume in the Feasting on the Word Worship Companion series, which provides liturgical pieces used in preparing for worship. It offers a multitude of poetic prayers and responsive readings for all parts of worship for churches that use the Revised Common Lectionary. In addition, the weekly entries include questions for reflection and household prayers for morning and evening that are drawn from the lectionary, allowing churches to include them in their bulletin for parishioners to use throughout the week. During times of the year when two different tracks of Old Testament texts are offered by the Revised Common Lectionary, this resource offers an entire set of materials for both tracks. Also, a CD-ROM is included with each volume that enables planners to easily cut and paste relevant readings, prayers, and questions into worship bulletins. Liturgy writers include: Kimberly L. Clayton, Director of Contextual Education, Columbia Theological Seminary, Decatur, Georgia; Presbyterian Church (U.S.A.) David Gambrell, Associate for Worship in the Office of Theology and Worship, Presbyterian Church (U.S.A.), Louisville, Kentucky; Presbyterian Church(U.S.A.) Daniel M. Geslin, Pastor, Union Congregational Church of Hancock, Hancock, Maine; United Church of Christ Kimberly Bracken Long, Associate Professor of Worship, Columbia Theological Seminary, Decatur, Georgia; Presbyterian Church (U.S.A.) L. Edward Phillips, Associate Professor of Worship and Liturgical Theology, Candler School of Theology, Atlanta, Georgia; United Methodist Church Melinda Quivik, Liturgical Scholar, Houghton, Michigan; Evangelical Lutheran Church in America Carol L. Wade, Dean of Christ Church Cathedral, Lexington, Kentucky; Episcopal Church
THE SUNDAY TIMES BESTSELLER A dark, evocative and unforgettable fantasy debut steeped in Hungarian history and Jewish mythology, perfect for fans of Naomi Novik and Katherine Arden. 'Rooted in history and myth, The Wolf and the Woodsman is a stunning debut . . . It will twine like a dark forest around your heart.' Samantha Shannon, Sunday Times bestselling author of The Priory of the Orange Tree ______________________________________ Stories don't have to be true to be real... In her forest-veiled pagan village, Evike is the only woman without power, making her an outcast clearly abandoned by the gods. When soldiers arrive from the Holy Order of Woodsmen to claim a pagan girl for the king's blood sacrifice, Evike is betrayed by her fellow villagers and surrendered. But when monsters attack the Woodsmen and their captive en route, slaughtering everyone but Evike and the cold, one-eyed captain, they have no choice but to rely on each other. Except he's no ordinary Woodsman - he's the disgraced prince, Gaspar Barany, whose father needs pagan magic to consolidate his power. Gaspar fears that his cruelly zealous brother plans to seize the throne and instigate a violent reign that would damn the pagans and the Yehuli alike. As the son of a reviled foreign queen, Gaspar understands what it's like to be an outcast, and he and Evike make a tenuous pact to stop his brother. As their mission takes them from the bitter northern tundra to the smog-choked capital, their mutual loathing slowly turns to affection, bound by a shared history of alienation and oppression. However, trust can easily turn to betrayal, and as Evike reconnects with her estranged father and discovers her own hidden magic, she and Gaspar need to decide whose side they're on, and what they're willing to give up for a nation that never cared for them at all. ______________________________________ 'Gorgeously written and grimly real, The Wolf and the Woodsman quite literally took my breath away. It has the unsettling-but-compelling gore of Henderson's The Year of the Witching, the folkloric lilt of The Bear and the Nightingale, and the moral complexity of Seeing Like a State. I'm obsessed.' Alex E. Harrow, Hugo-award winning author of The Ten Thousand Doors of January 'Assured and compelling throughout, and the worldbuilding is richly imagined, densely textured, and endlessly delightful.' Katherine Addison, author of The Goblin Emperor 'Reid has crafted a story that is not only relevant for our times, but has timelessness about it that truly makes it shine. The Wolf and the Woodsman is not a book I will soon forget.' Genevieve Gornichec, author of The Witch's Heart 'Combining religion, magic, and evocative language, Ava Reid has created a daring fantasy world full of imagination and fierce heroics' Luanne G. Smith, bestselling author of The Vine Witch 'The Wolf and The Woodsman is one hell of a ride. I couldn't put it down.' Greta Kelly, author of The Frozen Crown 'One of those transportative, delicious books that completely engrossed me for a full day.' Samantha Rajaram, Author of The Company Daughters
Waarom verhoor God sekere gebede, maar “ignoreer” ander? Dit is ’n eeue
oue vraag. Is dit omdat God wispelturig is, of steek daar meer in ons
gebedslewe as wat ons dink?
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