Deepens & refreshes our view of early Christianity while casting a disturbing light on the evolution of the attitudes passed down to us.AcknowledgmentsThe Book of Genesis, Chapters 1-3Introduction "The Kingdom of God is at hand" Christians against the Roman orderGnostic improvisations on Genesis The "Paradise of Virginity" regained The politics of paradise The nature of nature EpilogueNotesIndex

    Dorman revises his textbook, which introduces and explains the classic doctrines of the historic Christian faith. While systematic in organization, the book remains written for students, aiming to bring them to an understanding of the central doctrines of the Christian church including the doctrines of Scripture, God, creation, humanity, atonement, salvation, and eschatology.

    With cases studies found throughout, you will easily learn to apply principles to real life.

    How can students with widely varied levels of literary experience learn to write poetry, fiction, creative nonfiction, and drama — over the course of only one semester? In Creative Writing: Four Genres in Brief, David Starkey offers some solutions to the challenges of teaching the introductory creative writing course: (1) concise, accessible instruction in literary basics; (2) short models of literature to analyze, admire and emulate; (3) inventive and imaginative assignments that inspire and motivate.

    Students will receive a grounding in areas that vary from treatment to organizational and community settings. This edition also includes of new case studies, practice examples and guiding principles.

    With a balanced blend of case excerpts and author commentary, Samaha guides you as you hone your critical thinking and legal analysis skills. You'll see the principles, defenses, and elements of crime at work as you progress through the book-and you'll learn about the general principles of criminal liability and its defenses, as well as the elements of crimes against persons property, society, and crimes against the state. Featuring the latest topics and court cases, as well as many study tools to help you do well in this course, Samaha's CRIMINAL LAW is a text you will want to keep as a valuable reference even after you graduate and begin your career in the criminal justice field of your choosing.

    This fully revised edition of Bettenson's widely acclaimed volume traces Christian history through the periods of the Fathers, the Church in the Roman Empire, the Creeds, Scholasticism, the Reformation, the Churches in Great Britain, and Roman Catholic pronouncements up to the eve of the Second Vatican Council.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    The anthology offers more poetry by women (40 new poets), with special attention to early women poets. The book also includes a greater diversity of American poetry, with double the number of poems by African American, Hispanic, native American and Asian American poets. There are 26 new poets representing the Commonwealth literature tradition: now included are more than 37 poets from Australia, New Zealand, Ireland, Scotland, Wales, the Caribbean, South Africa and India.

    

    Friedman is a fascinating, intellectual, yet highly readable analysis and investigation into the authorship of the Old Testament. The author of Commentary on the Torah, Friedman delves deeply into the history of the Bible in a scholarly work that is as exciting and surprising as a good detective novel. Who Wrote the Bible? is enlightening, riveting, an important contribution to religious literature, and as the Los Angeles Times aptly observed in its rave review, “There is no other book like this one.”

    The volatile debate was at first carried on in academic journals and in magazines like Nature and Scientific American. It even engaged the attention of leading evolutionists like Nobel Laureate physicist Steven Weinberg and prominent naturalist Stephen Jay Gould. Johnson was invited to debate several of his opponents at universities across the country. And he was himself the subject of debate: Michael Ruse, author of Darwinism Defended, spoke at an annual meeting of the American Association for the Advancement of Science on the topic "Nonliteralist Anti-Evolutionism: The Case of Phillip Johnson."Darwin on Trial also shook up theistic evolutionists. William Hasker (Huntington College, Indiana) in the Christian Scholar's Review, Howard Van Till (Calvin College, Michigan) in First Things and Owen Gingerich (Harvard Center for Astrophysics) in Perspectives on Science & the Christian Faith all published their critiques of Darwin on Trial.Clearly, Johnson's arguments have been taken seriously by Darwinists of every sort. And though at first the mainstream press seemed to be out of earshot (except for reviews in Publisher's Weekly and The National Review), news of Darwin on Trial eventually reached wider audiences. Last summer, Johnson appeared with William F. Buckley on Firing Line. And in May 1995 he was interviewed on the PBS telecast In the Beginning: The Creationist Controversy with Randall Balmer. These and other indications of expanding interest in his critique is good news for all who wish to bring the debate over Darwinism into the bright light of day.

    The streamlined Third Edition of THE BASICS OF SOCIAL RESEARCH focuses particularly on the application of social research, emphasizing the fundamental concepts of both quantitative and qualitative research methods. Inductive chapter openings pose social research problems that are addressed and resolved in each chapter through the application of key chapter concepts. Each chapter contains detailed examples and sections on how to interpret the results of data analysis. The text provides students with the necessary tools for understanding the basics of social research methods and for applying these concepts both inside and outside the classroom.

    But exactly how do all the pieces fit together? In a single volume, The Promise and the Blessing connects the dots of the Old and New Testament books to reveal the big picture of salvation history. Organized chronologically rather than canonically, this book traces the flow of Israel’s history and shows how the New Testament proceeds out of the Old. It begins with God’s creation of the cosmos and the initial problem of the fall of man. Then it traces God’s solutions to that problem as he selects first one man, Abraham, then his line, and then the nation of Israel to provide the Messiah. Finally, it focuses on the Messiah himself and looks at how the gospel of Jesus was spread throughout the known world.The Promise and the Blessing is easy to use and ideal for anyone who wants to understand the grand narrative of the Bible. It features numerous beautiful, full-color photos, as well as sidebars and brief, fascinating “breakouts” of supplementary information. Maps, illustrations, summaries, and insightful notes help to illuminate the text. Field-tested in the classroom, The Promise and the Blessing is designed for Old and New Testament survey classes and will provide all readers of the Bible with a better understanding of how the drama that began in Eden winds through Israel’s history to its fulfillment in Jesus Christ.

    The Theogony contains a systematic genealogy of the gods from the beginning of the world and an account of their violent struggles before the present order was established. The Works and Days, a compendium of moral and practical advice for a life of honest husbandry, throws a unique and fascinating light on archaic Greek society, ethics, and superstition. Hesiod's poetry is the oldest source for the myths of Prometheus, Pandora, and the Golden Age.Unlike Homer, Hesiod tells us about himself and his family (he lived in central Greece in the late eighth century BC). This new translation by a leading expert combines accuracy with readability.