The seventeenth-century poet and divine Thomas Traherne finds innocence in every stage of existence. He finds it in the chaos at the origins of creation as well as in the blessed order of Eden. He finds it in the activities of grace and the hope of glory, but also in the trials of misery and even in the abyss of the Fall. Boundless Innocence in Thomas Traherne's Poetic Theology traces innocence through Traherne's works as it transgresses the boundaries of the estates of the soul. Using grammatical and literary categories it explores various aspects of his poetic theology of innocence, uncovering the boundless desire which is embodied in the yearning cry: 'Were all Men Wise and Innocent...' Recovering and reinterpreting a key but increasingly neglected theme in Traherne's poetic theology, this book addresses fundamental misconceptions of the meaning of innocence in his work. Through a contextual and theological approach, it indicates the unexplored richness, complexity and diversity of this theme in the history of literature and theology.

New essays on Thomas Traherne challenge traditional critical readings of the poet. Thomas Traherne has all too often been defined and studied as a solitary thinker, "out of his time", and not as a participant in the complex intellectual currents of the period. The essays collected here take issue with this reading, placing Traherne firmly in his historical context and situating his work within broader issues in seventeenth-century studies and the history of ideas. They draw on recently published textual discoveries alongside manuscripts which will soon be published for the first time. They address major themes in Traherne studies, including Traherne's understanding of matter and spirit, his attitude towards happiness and holiness, his response to solitude and society, and his Anglican identity. As a whole, the volume aims to re-ignite discussion on settled readings of Traherne's work, to reconsider issues in Traherne scholarship which have long lain dormant, and to supplement our picture of the man and his writings through new discoveries and insights. Elizabeth S. Dodd is programme leader for the MA in theology, ministry and mission and lecturer in theology, imagination and culture at Sarum College, Salisbury; Cassandra Gorman is lecturer in English at Trinity College, Cambridge. Contributors: Jacob Blevins, Warren Chernaik, Phoebe Dickerson, Elizabeth S. Dodd, Ana Elena Gonzalez-Trevino, Cassandra Gorman, Carol Ann Johnston, Alison Kershaw, Kathryn Murphy

Employing a cultural theory approach, this book explores the relationship between popular dance and value. It traces the shifting value systems that underpin popular dance scholarship and considers how different dancing communities articulate complex expressions of judgment, significance and worth through their embodied practice.

Dance on Screen is a comprehensive introduction to the rich diversity of screen dance genres. It provides a contextual overview of dance in the screen media and analyzes a selection of case studies from the popular dance imagery of music video and Hollywood, through to experimental art dance. The focus then turns to video dance, dance originally choreographed for the camera. Video dance can be seen as a hybrid in which the theoretical and aesthetic boundaries of dance and television are traversed and disrupted. This new paperback edition includes a new Preface by the author covering key developments since the hardcover edition was published in 2001.

Dance on Screen is a comprehensive introduction to the rich diversity of screen dance genres. It provides a contextual overview of dance in the screen media and analyses a selection of case studies from the popular dance imagery of music, video and Hollywood, through to experimental art dance. The focus then turns to video dance, dance originally choreographed for the camera. Video dance can be seen as a hybrid in which the theoretical and aesthetic boundaries of dance and television are traversed and disrupted.

The seventeenth-century poet and divine Thomas Traherne finds innocence in every stage of existence. He finds it in the chaos at the origins of creation as well as in the blessed order of Eden. He finds it in the activities of grace and the hope of glory, but also in the trials of misery and even in the abyss of the Fall. Boundless Innocence in Thomas Traherne's Poetic Theology traces innocence through Traherne's works as it transgresses the boundaries of the estates of the soul. Using grammatical and literary categories it explores various aspects of his poetic theology of innocence, uncovering the boundless desire which is embodied in the yearning cry: 'Were all Men Wise and Innocent...' Recovering and reinterpreting a key but increasingly neglected theme in Traherne's poetic theology, this book addresses fundamental misconceptions of the meaning of innocence in his work. Through a contextual and theological approach, it indicates the unexplored richness, complexity and diversity of this theme in the history of literature and theology.

Employing a cultural theory approach, this book explores the relationship between popular dance and value. It traces the shifting value systems that underpin popular dance scholarship and considers how different dancing communities articulate complex expressions of judgment, significance and worth through their embodied practice.

Employing a cultural theory approach, this book explores the relationship between popular dance and value. It traces the shifting value systems that underpin popular dance scholarship and considers how different dancing communities articulate complex expressions of judgment, significance and worth through their embodied practice.

Elizabeth S. Dodd explores how the lyric voice in English theology has spoken to, within and between church, self and society. By examining a number of texts by authors such as Lancelot Andrewes, William Blake, Samuel Taylor Coleridge, as well as T. S. Elliot and Geoffrey Hill, Dodd concludes that lyric is a vehicle for the imagination; which is the engine of theological thought, but it also has practical, ethical and public implications. In contemporary discussions of genre in theological aesthetics, as in the work of Charles Taylor, David Ford, Ben Quash, Kevin Vanhoozer and Sam Wells, lyric is the poor relation to narrative and drama. Lyric is the voice of soliloquy, the language of emotion and spiritual experience, and is quickly identified with the solipsism and egoism of the modern individual. However, lyric has been a strong voice within English theology, and not only in a navel-gazing fostering of private spirituality. Through a comparative analysis of these lyric movements within English theology, this book reassesses the role of lyric in theological language, and suggests that it take its place alongside narrative and drama.

In this two-part story, two siblings come across a mysterious man near their family farm. Curiosity leads these two into an unescapable world of terror.

When Bria, a young middle-class girl, is kidnapped from her home town in Vordona, further complications lead her to start a journey through the Sharkain World towards the Forbidden Realm - a place full of magic and powerful individuals.As it becomes apparent that her entire life has been a lie, the Queen reveals a very dark secret about her past. Now, coming to terms with her new responsibilities in the world, she must make choices... choices that will lead to unimaginable sacrifice.Death is around you... Betrayal is at fault!