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The book has beautiful word-play and rhythm, along with classic sketched illustrations - A keeper for all time.
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This book helps the American family redefine their concept of family, extended family, and household as a source of strength for their cultural development.
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Collins' knowledge of the Hebrew Bible is extensive on both theological and historical levels. His knowledge is also useful because in the Hebrew Bible are the roots of the problems with messianic interpretation - the scriptures themselves. Once Collins places particular scriptures in their historical context, he then goes on to show their influence(s) and interpretation(s) in various post- and extra-biblical works of literature. We find a pre-existent, heavenly messiah, a priestly messiah, a kingly messiah, and a militant messiah in the works Collins analyzes. At least one messiah was expected and possibly and two, depending on who wrote the work. Collins also deals with the history of the word "messiah" and its various uses in the Hebrew Bible.
In reading the book, the reader will gain some insights as to how and why the writers of the New Testament understood Jesus the way that they did, but the goal of the book is not to connect these works to Jesus. The book is, in many ways, a survey of the messianic thought during and before Jesus' time.
This book is not an introduction by any means. It is an in-depth study; some previous knowledge of the Scrolls, the Pseudepigrapha, and Second Temple history will be useful to the reader. A glossary would have been nice and helpful and would have opened the doors for less knowledgeable readers to read and understand the book. Overall, this is an excellect read. However, previous knowledge will enable - and perhaps even be necessary - for reader to grasp the many insights in Collins' work.
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This version in terms of gesture and music is one of the more traditional versions. It assumes a communal celebration with Leader, Reader and "All". Each station begins with a short responsory and genuflection, the reader proclaims a scriptural passage related to the station, all kneel and the leader reads a short meditation applying the suffering of Christ at the station to our lives, the people respond with a short psalm excerpt, all stand and sing a verse of the Stabat Mater. Each station is accompanied by a line drawing.
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Strengths of the book include an eye-opening look at Ford's WWII service, (How many other guys were at both Midway and D-Day and managed to get to Burma and Yugoslavia as well?) a clear presentation of Ford's relations with the different studios (the list of "better" titles for The Quiet Man the head of Republic tried to force on Ford is hysterically funny) and an evenhanded evaluation of Ford's behavior during the blacklist era.
Perhaps the evenhandedness of McBride's tone is what I liked the most about the book. One could take Ford's life and turn it into a straightforward case of hero-worship, or one could take an axe to him up and down the line, pointing out his failures in family life, his bigoted comments, his questionable actions in some controversial issues. McBride avoids falling into either extreme camp. We get Ford warts and all here, and it is left up to us to decide.
My only complaint is that the book is too short. I would have liked more discussion on a few films, and I would have liked a chapter on Ford's posthumous reputation. McBride raises the issue in his introduction that Ford is being forgotten by the new generation of writers and filmmakers, but he never quite tells why.
Still, this was a fine book, one that I read quickly despite its length.
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I recommend this particular version of the novella because it contains a variety of essays, which discusses some of the main issues in the reading and historical information. Issues like racism and colonialism are discussed throughout many essays. It also contains essays on the movie inspired by the book Apocalypse Now, which is set against the background of the Vietnam War. I recommend reading Heart of Darkness and then viewing Apocalypse Now, especially in DVD format which contains an interesting directors commentary.
This volume is one of three. Originally, all in one book it was more roughly 7" x 6" in size. Being 8.5" x 11" makes the reproductions bigger, but unfortunately, the majority are still in black and white or not there at all. Many works mentioned, are not included in this (or older editions). What good is mentioning a work of art, the reader is likely not to be familiar with, and have a hard time finding elsewhere? This makes the text, frustrating.
Starting with Rome in the first chapter, following with Caravaggio, the Carracci, Caravaggio's followers, Painting outside of Rome, and ending with Architecture and Sculpture. An introduction giving a brief biography of the author and enlarged bibliography has been added.
Wittkower is an important art historian and gives a comprehensive analysis of this time period which is essential for anyone interested in Baroque art. If it had all colour reproductions and included more of them, I would give it 5 stars.