Edited and with an Introduction by Joan Sherman.

    First published in 1992 and now in its seventh printing in English, with translations underway into Spanish, Korean, and Indonesian, Bevans's book is a judicious examination of what the terms "contextual theology" and "to contextualize" mean. In the revised and expanded edition, Bevans adds a "counter-cultural" model to the five presented in the first edition -- the translation, the anthropological, the praxis, the synthetic, and the transcendental model. This means that readers will be introduced to the way in which figures such as Stanley Hauerwas, John Milbank, Lesslie Newbigin, "and (occasionally) Pope John Paul II" need to be taken into account. The author's revisions also incorporate suggestions made by reviewers to enhance the clarity of the original three chapters on the nature of contextual theology and the five models.

    He or she must have a working knowledge of how the various technical aspects of the theater work (scenery, props, costumes, lights and sound), be part director, part playwright, part designer and part producer, and be prepared to act as confidant, counselor and confessor to everyone else in the company.This book addresses all of these considerations in detail and offers the reader-professional or amateur, veteran or beginner-helpful guidance and practical advice, supported by many forms and examples to illustrate the points covered in the text.The three phrases of mounting and performing a show are covered. Part I takes the reader through the pre-production phase-research, the script, planning and organization, and auditions. Part II covers the rehearsal process-rehearsal rules, blocking, cues, prompting, information distribution, technical and dress rehearsals. Part III discusses the performance phase-calling the show, maintaining the director's work, working with understudies and replacements, and more.Part IV provides insights into the organizational structure or some theaters and aspects of human behavior in those organizations. Many stage managers of long-running commercial productions believe that-once the show is up and running-only ten percent of their work is related to everything covered in Parts I, II and III. The other ninety percent is associated with issues in Part IV; i.e. managing human behavior and maintaining working relationships.

    That was, of course, an oblique reference to the mind-bending drugs that clouded perception--yet time has proven an equally effective hallucinogen. This book revisits the Sixties we forgot or somehow failed to witness. In a kaleidoscopic global tour of the decade, Gerard DeGroot reminds us that the Ballad of the Green Beret outsold Give Peace a Chance, that the Students for a Democratic Society were outnumbered by Young Americans for Freedom, that revolution was always a pipe dream, and that the Sixties belong to Reagan and de Gaulle more than to Kennedy and Dubcek. The Sixties Unplugged shows how opportunity was squandered, and why nostalgia for the decade has obscured sordidness and futility. DeGroot returns us to a time in which idealism, tolerance, and creativity gave way to cynicism, chauvinism, and materialism. He presents the Sixties as a drama acted out on stages around the world, a theater of the absurd in which China's Cultural Revolution proved to be the worst atrocity of the twentieth century, the Six-Day War a disaster for every nation in the Middle East, and a million slaughtered Indonesians martyrs to greed. The Sixties Unplugged restores to an era the prevalent disorder and inconvenient truths that longing, wistfulness, and distance have obscured. In an impressionistic journey through a tumultuous decade, DeGroot offers an object lesson in the distortions nostalgia can create as it strives to impose order on memory and value on mayhem.

    As they prepare to make it twenty, the boys are determined that this will be the season they beat the wealthy suburban schools around them and finally win the Oregon state championship. Their spirited drive gives a rare sense of hope and unity to a bluecollar farming community that has been transformed by waves of immigrants over recent decades, a town locals call "Little Mexico."In 2005, Woodburn High's Bulldogs, aka Los Perros, will start the season with eight undocumented students, three boys who speak almost no English, a midfielder groomed to play for a pro Mexican team, a goalkeeper living in his third foster home, and an Irishdescended white coach desperate to lead all of them to success. Watched over by a south Texas transplant—a surrogate father to half the squad—this band of brothers must learn to come together on the field and look after each other off it.More than just riveting sports writing, The Boys from Little Mexico is also about the fight for the future of the next generation and a hard, true look at boys dismissed as gangbangers, told to "go home" by lilywhite sideline crowds. At school, these kids battle academically in a country where barely half of all Hispanic boys graduate and fewer still make it to college. Now, in a gutsy quest for their first state championship, one thing will become clear: Los Perros play the beautiful game with heart, pride, and their lives on the line. The wins and losses they notch along the way spin a striking and fastpaced tale of how sometimes it takes more than raw talent, discipline, and passion to capture the American Dream.

    Leon McBeth's 'The Baptist heritage' is a definitive, fresh interpretation of Baptist history. Based on primary source research, the book combines the best features of chronological and topical history to bring alive the story of Baptists around the world.

    Throughout, Graham seeks out sites of wakeful resistance and achieved presence. From the natural world to human sensation, the poems test the unstable congeries of the self, and the creative tensions that exist within and between our inner and outer landscapes--particularly as these are shaped by language.Beginning with a poem dated June 5th, placed on Omaha Beach, in Normandy--the anniversary of the day before the "historical" events of June 6th--Place is made up of meditations written in a uneasy lull before an unknowable, potentially drastic change--meditations which enact and explore the role of the human in and on nature. In these poems, time lived is felt to be both incipient, and already posthumous. This is not the same as preparing for a death. It is preparing for a life we know we, and our offspring, shall have no choice but to live. How does one think ethically as well as emotionally in such a predicament? How does one think of one's child--of having brought a person into this condition? How does love continue, and how is it supposed to be transmitted? Does the nature of love change?Both formally and thematically poems of ec(h)o-location in space/time, Graham's new poems work to discern "aftermath" from "future"--as the two margins of the form ask us to feel the vertiginous "double" position in which we find ourselves, constantly looking back just as we are forced to try to see ahead.In an era where distrust of human experience and its attendant accountability are pervasive Place calls us, in poems of unusual force and beauty, to re-inhabit and make full use of--and even rejoice in--a more responsive and responsible place of the human in the world.

    I have always understood the art of listening." The last two years have been monstrously unpleasant for high-society journalist Gus Bailey. His propensity for gossip has finally gotten him into trouble--$11 million worth. His problems begin when he falls hook, line, and sinker for a fake story from an unreliable source and repeats it on a radio program. As a result of his flip comments, Gus becomes embroiled in a nasty slander suit brought by Kyle Cramden, the powerful congressman he accuses of being involved in the mysterious disappearance of a young woman, and he fears it could mean the end of him. The stress of the lawsuit makes it difficult for Gus to focus on the novel he has been contracted to write, which is based on the suspicious death of billionaire Konstantin Zacharias. It is a story that has dominated the party conversations of Manhattan's chattering classes for more than two years. The convicted murderer is behind bars, but Gus is not convinced that justice was served. There are too many unanswered questions, such as why a paranoid man who was usually accompanied by bodyguards was without protection the very night he perished in a tragic fire. Konstantin's hot-tempered widow, Perla, is obsessed with climbing the social ladder and, as a result, she will do anything to suppress this potentially damaging story. Gus is convinced she is the only thing standing between him and the truth. Dominick Dunne revives the world he first introduced in his mega-bestselling novel "People Like Us," and he brings readers up to date on favorite characters such as Ruby and Elias Renthal, Lil Altemus, and, of course, the beloved Gus Bailey. Once again, he invites us to pull up a seat at the most important tables at Swifty's, get past the doormen at esteemed social clubs like The Butterfield, and venture into the innermost chambers of the Upper East Side's most sumptuous mansions. "Too Much Money" is a satisfying, mischievous, and compulsively readable tale by the most brilliant society chronicler of our time--the man who knew all the secrets and wasn't afraid to share them.

    Are teachers prepared by their college education departments to teach African American children? Are schools designed for middle-class children and, if so, what are the implications for the 50 percent of African Americans who live below the poverty line? Is the major issue between teachers and students class or racial difference? Why do some of the lowest test scores come from classrooms where black educators are teaching black students? How can parents negotiate with schools to prevent having their children placed in special education programs? Also included are teaching techniques and a list of exemplary schools that are successfully educating African Americans.

    This title unravels and demystifies the ego-release process and provides guidance on undoing the cause of all human suffering; our distorted belief system.

    The book addresses the urgent question of why the working classes are still faring so much worse than the upper and middle classes in education, and vitally - what we can do to achieve a fairer system.

    It's the first Bible of its kind--with over 400 beautiful line-art illustrations spread throughout the Bible. Full-page and partial-page Scripture art is attractively displayed throughout the Bible, and the illustrations can be colored in to make each Bible unique, colorful, and customizable. Every page of Scripture has two-inch-wide margins, with either Scripture line-art or ruled space for writing notes and reflections, or to draw and create. The generous 8.65-point font ensures optimal readability, and quality cream Bible paper is great for creative art journaling. Inspire is available in the popular New Living Translation, and is designed uniquely to appeal to art-journaling and adult coloring book enthusiasts.Softcover editions have Inspire foiled in metallic blue on an attractive coloring-book-style cover, plus extra hits of foil to embellish the flowers and leaves.Deluxe Hardcover editions feature a lovely, aquamarine LeatherLike over board, with beautifully-designed full-color page edges, a matching ribbon, and an elastic band closure.Deluxe LeatherLike editions feature a beautiful, vintage floral printed silky LeatherLike over flexible board, with matching aquamarine-patterned page edges, a matching ribbon, and a Smyth-sewn durable binding.

    It also includes a major study on suicide and case studies.

    Faculty and students praise the book's proven ability to generate class discussion, increase faculty-student engagement, and enhance student learning. Through clear writing, a balanced theoretical approach, and engaging examples, Miller stresses the importance of social inequality, cultural change, and applied aspects of anthropology throughout the book. Each chapter highlights an example of applied anthropology and connects with students by providing practical tips about how they can use anthropology in their everyday lives and careers. The last two chapters address how migration is changing world cultures and the importance of local cultural values and needs in shaping international development policies.

    Industry, toil and grime. Its manufacturing roots mean we still see the North of England as a hardworking place. But, more than possibly anywhere else, the North has always known how to get dressed up, take itself out on the town and have a good time. After all, working and playing hard is its specialty, and Stuart Maconie is in search of what, exactly, this entails what it tells us about the North today.Following tip offs and rumour, Stuart takes trip to forgotten corners and locals’ haunts. From the tapas bars of Halifax to the caravan parks of Berwick Upon Tweed, from a Westhoughton bowling green to Manchester’s curry mile, via dog tracks and art galleries, dance floors and high fells, Stuart compares the new and old North, with some surprising results.The Pie at Night could be seen as a companion to the bestselling Pies and Prejudice, but it is not a sequel. After all, this is a new decade and the North is changing faster than ever. This is a revealing and digressive journey and a State of the North address, delivered from barstool, terrace, dress circle and hillside.