This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Discover and understand the different Christian views of what heaven will be like. Christians from a variety of denominations and traditions are in middle of an important conversation about the final destiny of the saved. Scholars such as N. T. Wright and J. Richard Middleton have pushed back against the traditional view of heaven, and now some Christians are pushing back against them for fear that talk about the earthiness of our final hope distracts our attention from Jesus. In the familiar Counterpoints format, Four Views on Heaven brings together a well-rounded discussion and highlights similarities and differences of the current views on heaven. Each author presents their strongest biblical case for their position, followed by responses and a rejoinder that model a respectful tone. Positions and contributors include: Traditional Heaven - our destiny is to leave earth and live forever in heaven where we will rest, worship, and serve God (John S. Feinberg) Restored Earth - emphasizes that the saved will live forever with Jesus on this restored planet, enjoying ordinary human activities in our redeemed state. (J. Richard Middleton) Heavenly Earth - a balanced view that seeks to highlight both the strengths and weaknesses of the heavenly and earthly views (Michael Allen). Roman Catholic Beatific Vision - stresses the intellectual component of salvation, though it encompasses the whole of human experience of joy, happiness coming from seeing God finally face-to-face (Peter Kreeft). The Counterpoints series presents a comparison and critique of scholarly views on topics important to Christians that are both fair-minded and respectful of the biblical text. Each volume is a one-stop reference that allows readers to evaluate the different positions on a specific issue and form their own, educated opinion.

Richard Barnham Middleton's The Ghost Ship is one of the best-loved ghost stories in English literature, about which Arthur Machen wrote, I declare I would not exchange this short, crazy, enchanting fantasy for a whole wilderness of seemly novels. Middleton himself (1882-1911) was a tragic figure, a young man impatient for success, who managed to live the archetypal life of the Romantic Bohemian poet, complete with poverty, unrequited love for an impossible woman (a prostitute), despair, and an early suicide. While he published many pieces in the best magazines of the day, volumes of his work were published in his lifetime, as soon as he was dead, he was discovered. Four volumes of his collected works were in print within eighteen months. Three more followed in the next two decades. His poetry was acclaimed in the press as a new Keats, both for the brilliance of his work and the brevity of his life. such as The Coffin Merchant, On the Brighton Road, and The Conjurer, which only hint at the richness of the larger body of his work, and suggest what kind of a literary artist he would have become if he had lived. The Pantomime Man presents an unexpected treasure-trove of Middleton's writings. It was originally published a generation after the author's death, when it had been thought that the store of Middleton material had been exhausted.

It is traditional to think we should praise Abraham for his willingness to sacrifice his son as proof of his love for God. But have we misread the point of the story? Is it possible that a careful reading of Genesis 22 could reveal that God was not pleased with Abraham's silent obedience? Widely respected biblical theologian, creative thinker, and public speaker J. Richard Middleton suggests we have misread and misapplied the story of the binding of Isaac and shows that God desires something other than silent obedience in difficult times. Middleton focuses on the ethical and theological problem of Abraham's silence and explores the rich biblical tradition of vigorous prayer, including the lament psalms, as a resource for faith. Middleton also examines the book of Job in terms of God validating Job's lament as "right speech," showing how the vocal Job provides an alternative to the silent Abraham. This book provides a fresh interpretation of Genesis 22 and reinforces the church's resurgent interest in lament as an appropriate response to God.

2014 Word Guild Award (Biblical Studies) Named a 2014 Jesus Creed Book of the Year (Theology) Best Theology Book of 2014, Englewood Review of Books Best Book of Biblical Studies for 2014, Hearts & Minds Books In recent years, more and more Christians have come to appreciate the Bible's teaching that the ultimate blessed hope for the believer is not an otherworldly heaven; instead, it is full-bodied participation in a new heaven and a new earth brought into fullness through the coming of God's kingdom. Drawing on the full sweep of the biblical narrative, J. Richard Middleton unpacks key Old Testament and New Testament texts to make a case for the new earth as the appropriate Christian hope. He suggests its ethical and ecclesial implications, exploring the difference a holistic eschatology can make for living in a broken world.

Richard Barnham Middleton's The Ghost Ship is one of the best-loved ghost stories in English literature, about which Arthur Machen wrote, I declare I would not exchange this short, crazy, enchanting fantasy for a whole wilderness of seemly novels. Middleton himself (1882-1911) was a tragic figure, a young man impatient for success, who managed to live the archetypal life of the Romantic Bohemian poet, complete with poverty, unrequited love for an impossible woman (a prostitute), despair, and an early suicide. While he published many pieces in the best magazines of the day, no volumes of his work were published in his lifetime. As soon as he was dead, he was discovered. Four volumes of his collected works were in print within eighteen months. Three more followed in the next two decades. His poetry was acclaimed in the press as a new Keats, both for the brilliance of his work and the brevity of his life. such as The Coffin Merchant, On the Brighton Road, and The Conjurer, which only hint at the richness of the larger body of his work, and suggest what kind of a literary artist he would have become if he had lived.

Richard Barnham Middleton's The Ghost Ship is one of the best-loved ghost stories in English literature, about which Arthur Machen wrote, I declare I would not exchange this short, crazy, enchanting fantasy for a whole wilderness of seemly novels. Middleton himself (1882-1911) was a tragic figure, a young man impatient for success, who managed to live the archetypal life of the Romantic Bohemian poet, complete with poverty, unrequited love for an impossible woman (a prostitute), despair, and an early suicide. While he published many pieces in the best magazines of the day, volumes of his work were published in his lifetime, as soon as he was dead, he was discovered. Four volumes of his collected works were in print within eighteen months. Three more followed in the next two decades. His poetry was acclaimed in the press as a new Keats, both for the brilliance of his work and the brevity of his life. such as The Coffin Merchant, On the Brighton Road, and The Conjurer, which only hint at the richness of the larger body of his work, and suggest what kind of a literary artist he would have become if he had lived. The Pantomime Man presents an unexpected treasure-trove of Middleton's writings. It was originally published a generation after the author's death, when it had been thought that the store of Middleton material had been exhausted.

Richard Barnham Middleton's The Ghost Ship is one of the best-loved ghost stories in English literature, about which Arthur Machen wrote, I declare I would not exchange this short, crazy, enchanting fantasy for a whole wilderness of seemly novels. Middleton himself (1882-1911) was a tragic figure, a young man impatient for success, who managed to live the archetypal life of the Romantic Bohemian poet, complete with poverty, unrequited love for an impossible woman (a prostitute), despair, and an early suicide. While he published many pieces in the best magazines of the day, no volumes of his work were published in his lifetime. As soon as he was dead, he was discovered. Four volumes of his collected works were in print within eighteen months. Three more followed in the next two decades. His poetry was acclaimed in the press as a new Keats, both for the brilliance of his work and the brevity of his life. such as The Coffin Merchant, On the Brighton Road, and The Conjurer, which only hint at the richness of the larger body of his work, and suggest what kind of a literary artist he would have become if he had lived. The carol-boy of English poetry ...our Verlaine. -- The English Review.

One of the pioneers of popular music studies, Richard Middleton has made an important contribution not only to this particular field but also to the critical and cultural theory of music more generally. Sixteen of his essays, dating from the late 1970s to the present day, have been selected for this collection, most of them previously published but some of which are new. The musical topics vary widely, from Mozart and Gershwin to rock and rap, from music hall to blues and jazz, from Elvis Presley and John Lennon to Patti Smith and Mariah Carey. But throughout, the author is concerned to locate appropriate ways of understanding 'the popular', and suggests that this task is crucial to any critical musicology worth the name. In a substantial introduction, he places his own intellectual development in the context of the development of the discipline, offering his latest thoughts on the past, present and future of critical musicology and its place in the critique of modernity. The overall theme, 'musical belongings', is revealed as a key not only to the relationship between music and the politics of possession, but also, by extension, to the investments made by musicology, critical and other, in those politics.

What does it mean to be human? This timeless question proves critical as we seek to understand our purpose, identity, and significance. Amidst the many voices clamoring to shape our understanding of humanity, the Bible reveals important truths related to our human identity and vocation that are critical to the flourishing of all of creation. Carmen Joy Imes seeks to recover the theologically rich message of the creation narratives starting in the book of Genesis as they illuminate what it means to be human. Every human being is created as God's image. Imago Dei is our human identity, and God appointed humans to rule on God's behalf. Being God's Image explores the implications of this kinship relationship with God and considers what it means for our work, our gender relations, our care for creation, and our eternal destiny. The Bible invites us into a dramatically different quality of life: a beloved community in which we can know God and one another as we are truly known. Includes a discussion guide for personal reflection or group study, as well as links to related video material through the BibleProject.

What is the relationship between music and culture? The first edition of The Cultural Study of Music: A Critical Introduction explored this question with groundbreaking rigor and breadth. Now this second edition refines that original analysis while examining the ways the field has developed in the years since the book's initial publication. Including contributions from scholars of music, cultural studies, anthropology, sociology, and psychology, this anthology provides a comprehensive introduction to the study of music and culture. It includes both pioneering theoretical essays and exhaustively researched case studies on particular issues in world musics. For the second edition, the original essays have been revised and nine new chapters have been added, covering themes such as race, religion, geography, technology, and the politics of music. With an even broader scope and a larger roster of world-renowned contributors, The Cultural Study of Music is certain to remain a canonical text in the field of cultural musicology.

For much of the 17th and 18th centuries, European Americans and Native Americans lived in harmony as traders and hunters, sharing cultures, and even taking spouses and raising families. However, after 1760, relations broke down, and resulted in the conflict known as Pontiac's War (1763-1765). Much of Northeast America was plunged into turmoil, forcing the British into a radical change in imperial policy regarding the colonies, which then broke down in the build up to the American Revolution. Richard Middleton's Pontiac's War explains the who, what, when, where, why of the war that changed things between the native people and the European settlers, solidifying and sharpening the racial differences and attitudes, and foreshadowing a lot of the atrocities of American policy toward Indians in the 19th century.

Pontiac's War: Its Causes, Course, and Consequence, 1763-1765 is a compelling retelling of one of the most pivotal points in American colonial history, in which the Native peoples staged one of the most successful campaigns in three centuries of European contact. With his balanced analysis of the organization and execution of this important conflict, Middleton sheds light on the military movement that forced the British imperial forces to reinstate diplomacy to retain their authority over the region.

Spotlighting the Native American perspective, Pontiac's War presents a careful, engaging account of how very close to success those Native American forces truly came.

How does popular music produce its subject? How does it produce us as subjects? More specifically, how does it do this through voice--through "giving voice"? And how should we understand this subject--"the people"--that it voices into existence? Is it singular or plural? What is its history and what is its future? Voicing the Popular draws on approaches from musical interpretation, cultural history, social theory and psychoanalysis to explore key topics in the field, including race, gender, authenticity and repetition. Taking most of his examples from across the past hundred years of popular music development--but relating them to the eighteenth- and nineteenth-century "pre-history"--Richard Middleton constructs an argument that relates "the popular" to the unfolding of modernity itself. Voicing the Popular renews the case for ambitious theory in musical and cultural studies, and, against the grain of much contemporary thought, insists on the progressive potential of a politics of the Low.

How does popular music produce its subject? How does it produce us as subjects? More specifically, how does it do this through voice--through "giving voice"? And how should we understand this subject--"the people"--that it voices into existence? Is it singular or plural? What is its history and what is its future? Voicing the Popular draws on approaches from musical interpretation, cultural history, social theory and psychoanalysis to explore key topics in the field, including race, gender, authenticity and repetition. Taking most of his examples from across the past hundred years of popular music development--but relating them to the eighteenth- and nineteenth-century "pre-history"--Richard Middleton constructs an argument that relates "the popular" to the unfolding of modernity itself. Voicing the Popular renews the case for ambitious theory in musical and cultural studies, and, against the grain of much contemporary thought, insists on the progressive potential of a politics of the Low.

Wars rarely turn out as expected. This book shows how Britain entered a conflict that it believed could not be lost. The American Patriots were similarly optimistic about their martial prospects. Although they eventually secured independence, it was only with the assistance of France and indirectly Spain, who diverted British resources from the conflict in America, allowing France eventually to deliver a knockout blow at Yorktown. This extensive yet accessible exploration into the War of American Independence provides a clear analysis of why this complex conflict occurred and why it ended as it did, revealing the fragile nature of the American Patriot cause. An essential guide for any history student, including those specializing in war/peace studies and the study of international relations, as well the general reader with an interest in the study of war.

What is the relationship between music and culture? The first edition of The Cultural Study of Music: A Critical Introduction explored this question with groundbreaking rigor and breadth. Now this second edition refines that original analysis while examining the ways the field has developed in the years since the book's initial publication. Including contributions from scholars of music, cultural studies, anthropology, sociology, and psychology, this anthology provides a comprehensive introduction to the study of music and culture. It includes both pioneering theoretical essays and exhaustively researched case studies on particular issues in world musics. For the second edition, the original essays have been revised and nine new chapters have been added, covering themes such as race, religion, geography, technology, and the politics of music. With an even broader scope and a larger roster of world-renowned contributors, The Cultural Study of Music is certain to remain a canonical text in the field of cultural musicology.