Texts Rocks And Talk

In Texts, Rocks, and Talk biblical scholar and teacher John Lanci suggests that many have lost the ability to focus on the essentials, to experience a Jesus Christ alive and powerful in our midst. He responds by inviting readers on a journey back to the Bible. Lanci conveys the experience of interpreting the Bible, inviting readers to witness the interpretation of one particular passage from the Hebrew Bible and one from the New Testment from start to finish. Along the way he covers some of the same ground that biblical introductions present, as he explains what interpreters do and why they do it. Readers will gain a deeper understanding of the need to interpret texts and greater confidence in their ability to enter into the conversation that sacred texts provide. They will also have a greater confidence in the possibility that their Christian community can open itself up to that divine conversation. Texts, Rocks, and Talk can serve as an introduction to the Bible textbook for college undergraduates, parish discussion groups, or individuals who do not have a lot of theological background but are interested in finding their way into the Bible. The chapters are relatively short and clearly written, with questions for reflection and discussion. Chapters in Preliminaries are "Why Take It on the Road?" "What the Bible Is Not, " and "A Preview of Coming Attractions: What the Bible Is." Chapters in The Song of Songs are "Sex on the Page, " "Healthy Suspicion: A Walking Staff for Our Journey, " "What is the Book?" "Lo and the Rocks, " "Lifestyles of the Dead and Buried: What Archaeology Is and What It Is Not, " "Making the Heart Forget: The Love Songs of Ancient Egypt, " and "The Egyptian LoveSongs and the Song of Songs." The chapter in An Interlude is "An Interlude with Jesus and Christ." Chapters in First Corinthians are "Our Brother Paul, " "We Raise an Eyebrow in Surprise: Paul, the Corinthians, and a Letter, " "The Rhetoric of a Text, " "What Kind of Fool Is God?" "A Little History, a Little Wisdom, a Little Mystery, " "The Rigamorale of Roman Power and Corinthian Rocks, " "The No-Relax Tour Continues into Darker Realms, " and "The Great Reversal." Chapters in Talk: Counterimagining the Wor are "Three Umbrellas and a Sea Change, " "Counterimagining the World, " "We Confront the Passion of God, " "In Praise of Christian Flesh, " and "The Journey, Not the Arrival, Matters." Includes an Introduction, Epilogue, and Notes, Citations, Suggestions for Further Readings.

Text and Drugs and Rock'n'Roll explores the interaction between two of the most powerful socio-cultural movements in the post-war years - the literary forces of the Beat Generation and the musical energies of rock and its attendant culture. Simon Warner examines the interweaving strands, seeded by the poet/novelists Jack Kerouac, Allen Ginsberg, William Burroughs and others in the 1940s and 1950s, and cultivated by most of the major rock figures who emerged after 1960 - Bob Dylan, the Beatles, Bowie, the Clash and Kurt Cobain, to name just a few. This fascinating cultural history delves into a wide range of issues: Was rock culture the natural heir to the activities of the Beats? Were the hippies the Beats of the 1960s? What attitude did the Beat writers have towards musical forms and particularly rock music? How did literary works shape the consciousness of leading rock music-makers and their followers? Why did Beat literature retain its cultural potency with later rock musicians who rejected hippie values? How did rock musicians use the material of Beat literature in their own work? How did Beat figures become embroiled in the process of rock creativity? These questions are addressed through a number of approaches - the influence of drugs, the relevance of politics, the effect of religious and spiritual pursuits, the rise of the counter-culture, the issue of sub-cultures and their construction, and so on. The result is a highly readable history of the innumerable links between two of the most revolutionary artistic movements of the last 60 years.

This thoroughly revised third edition of Allan F. Moore's ground-breaking book, now co-authored with Remy Martin, incorporates new material on rock music theory, style change and the hermeneutic method developed in Moore’s Song Means (2012). An even larger array of musicians is discussed, bringing the book right into the 21st century. Rock's 'primary text' – its sounds – is the focus of attention here. The authors argue for the development of a musicology particular to rock within the context of the background to the genres, the beat and rhythm and blues styles of the early 1960s, 'progressive' rock, punk rock, metal and subsequent styles. They also explore the fundamental issue of rock as a medium for self-expression, and the relationship of this to changing musical styles. Rock: The Primary Text remains innovative in its exploration of an aesthetics of rock.

This title was first published in 2001: Revised to respond to developments within the discipline and with new material added to reflect the author's and others' further work in this field, this book's focus remains British rock. Its aims are: to establish analytic criteria for rock as a whole; to provide a historicized discussion of British rock; and to enable a critical re-evaluation of progressive rock itself. This book has been written in the conviction that, with "rock" criticism and commentary in general, insufficient attention is paid to what the author calls the "primary text" - that constituted by the sounds themselves, as opposed to commentaries on them. In the first chapter, Allan Moore argues for the development of a musicology particular to rock, which may share aspects of established musicology, but which acknowledges that rock differs in its purposes, publics and aims. The primary elements of such a musicology are then laid out in Chapter 2. Next, there are critiques of rock myths of authenticity and unmediated expression. These are centred on the ideological appropriation of the ethos and techniques of the "blues", and extend to discussions of a range of more recent rock styles. The crucial role played by authenticity in the reception of rock is considered at more length in Chapter 5.

This thoroughly revised second edition of Allan Moore's ground-breaking book features new sections on melody, Britpop, authenticity, intertextuality, and an extended discussion of texture. Rock's 'primary text' - its sounds - is the focus of attention here. Allan Moore argues for the development of a musicology particular to rock within the context of the background to the genres, the beat and rhythm and blues styles of the early 1960s, 'progressive' rock and subsequent styles. He also explores the fundamental issue of rock as a medium for self-expression, and the relationship of this to changing musical styles. Rock: The Primary Text remains innovative in its exploration of an aesthetics of rock.

Cambridge Checkpoints VCE Text Guides are an invaluable digital resource for all students of senior English. This guide for Area of Study 2 will help you develop the confidence you need to write essays throughout the year, and to build your skills in creating and presenting in readiness for the end of year exam. Cambridge Checkpoints VCE Text Guides for Area of Study 2 offer you: • Detailed character analysis • Discussion of themes, ideas and values • A focus on the language features and conventions of your text • Writing prompts and an exploration of your text in Context • Comprehensive guide to further reading