25,398 research outputs found
Mark Flanagan, 2011
No full textIn this interview, Mark Flanagan shares his experiences as a musician in Memphis. He speaks about the revitalization of Beale and the construction of the Handy Park venue. Interviewee: Mark Flanagan Interviewer: William Shepherd Date: April 2, 201
Shepherd - Live score performance
No full textLive performance of the score for a pre-screening edition of the feature film SHEPHERD.
'Shepherd' - a film by Julia Reynolds.
Score for string quartet, piano and electronics.
(notated score and audio recording)
Performed by Mark Bennett, Rachel Twyman, Chris Nation and Yotam Levy.
Conducted by Jeremy Mayal
Community Building in the Shepherd of Hermas A Critical Study of Some Key Aspects
No full textIn Community Building in the Shepherd of Hermas, Mark Grundeken investigates key aspects of Christian community life as reflected upon in the early Christian writing the Shepherd of Hermas (2nd century C.E.
Shepherd original soundtrack album
No full textMusic composed for the motion picture - SHEPHERD
"In a harsh futuristic reality, Eden, a young teenage girl sets out on a lone journey to test if her memories and dreams can be trusted."
A film by Julia Reynolds
shepherdfilm.nz
credits
released March 18, 2018
Original Music by:
Jeremy Mayall
Musicians:
Violins: Mark Bennett and Rachel Twyman
Viola: Chris Nation
Cello: Yotam Levy
String section recorded at Wintec Recording Studios by:
Jason Long, Samuel Moxham and Jeremy Mayall
All other instruments performed and recorded by:
Jeremy Mayall at Hermits Cave Studios
Orchestrations by:
Jeremy Mayall
Music Editor and Mixer:
Jeremy Mayall
Music produced by:
Jeremy Mayal
The sense of a beginning : Bakhtinian dialogic criticism on 'the gospel' in Mark.
No full textContemporary literary approaches have caused paradigm shifts in Biblical Studies in the last two decades as it appears in a great deal of Markan studies using narrative, reader-response, deconstructive, feminist, and new historicist approaches. However, literary studies on the Gospel of Mark have not taken into account theoretical questions underlying those approaches. As a result biblical critics are driven by new trends without ever having a chance to examine the critical baggage of the approaches. Consequently, there is a gap of communication between the old and the new one. Therefore this thesis is an attempt to meet the need of enhancing the quality of critical endeavour in biblical studies. In the light of most recent competing critical theories of literature, the first contribution of this thesis is the methodological finding that Bakhtinian dialogic criticism contains the most profound philosophical and practical foundations for solving some crucial theoretical problems in contemporary literary theories. It is a critique to a Saussurian linguistic system of language which becomes the very foundation of modern and postmodern literary criticism. Bakhtinian literary theory shifts the foundation of literary criticism on linguistic signs into the creative activity of the socio-cultural production of human communication. The shift into socio-cultural reality of language communication makes the notion of 'genre' very important to unlock the problem of text and context in literary studies. Since the Gospel of Mark has fascinated most literary critics in Biblical Studies, the problem of 'genre' of this gospel is chosen as the focus of this study. Secondly, as no agreement is reached as to what 'genre' the Gospel of Mark belongs, this thesis makes its contribution to the discussion by locating the problem of 'genre' of Mark in the context of genre theories and argues that the Bakhtinian suggestion to find genre in the socio-cultural sphere by analysing artistic intercourse between narrative agents in Mark has freed the competing analysis from the unresolved problem between the kerygmatic (content oriented) approach and the analogical (form oriented) approach. To achieve finding 'genre' in the socio-cultural sphere, this thesis focuses on Bakhtinian analysis of the process of artistic intercourse between narrative agents. The narrative communicative interrelationships between narrative agents is constructed in this thesis as a 'stereophonic' Bakhtinian model of dialogic communication. This model is an original contribution of this thesis for revising the traditional two dimensional model of narrative communication. Based on this dialogical model of communication, a special role is given to the Bakhtinian 'author-creator' in the realization process of genre through the interaction of polyphonic voices. Through the interaction of voices of the author-artist and the hero we are led to discover a relatively stable type of portraying and controlling reality in Mark, known as the genre of Roman 'satire'. The closest literary affinity is Satyrica by Petronius. This narrative strategy of 'satire' in Mark has its root in the prophetic discourse of the Old Testament which is saturating the speech of the narrator, John the Immerser, the centurion, the people, and even Jesus. Finally, the whole search for Markan 'genre' culminates in the analysis of the realization of genre through the analysis of Bakhtinian chronotope. The reality of the genre of Mark is its social reality that is in its role as dpxrj/ 'beginning'. As the Gospel of Mark proclaims itself as 'a beginning', it defines its claim of socio-cultural 'authority' in early Christianity. It is this 'sense of beginning' which enables the narrating and the narrated world of Mark to interact dialogically
MARK BRADSHAW, Composition CARL SCHAER, Composition MASTERS RECITAL Sunday October 30, 1988 3:00 p.m. in the Shepherd School Recital Hall
No full textPlaylist: Toccata for piano / Carl Schaer -- Songs in black and gray / Mark Bradshaw -- Woodwind quintet / Carl Schaer -- Canons for flute and cello / Mark Bradshaw -- Rhapsody for solo violin / Carl Schaer -- String quartet / Mark Bradshaw.This recital is given in partial fulfillment of the requirements for the Master of Music degree
[Mark Shepherd, Jr., standing at lectern during a TI meeting]
No full textAn image of Mark Shepherd, Jr., at the lecturn in a TI meeting. Shepherd, an SMU graduate, spent four decades at GSI and TI, eventually becoming president and chief executive officer
The Book of Mark
No full textThe beginning of the gospel of Jesus Christ, the Son of God.—Mark 1:1.
Mark, the shortest—and perhaps the first—of the four Gospels, presents Jesus in bold, on-the-go strokes. Mark’s was not a meek-and-mild Jesus. Instead, He is striking, forthright, and powerful. He attacks Satan’s realm, casts out demons, and raises the dead.
Join Dr. Thomas Shepherd, author of the forth-coming Seventh-day Adventist International Bible Commentary on the Gospel of Mark for an in-depth look at Jesus in action. Discover the power of “sandwich” stories, explore the revelation-secrecy motif, and watch as the Savior’s authority comes into conflict with the religious leaders of the day.
After Mark takes readers on real-time adventures with Jesus, he leaves the ending open, but not without a purpose. The Gospel of Mark ends with an appeal to the reader to go and tell the good news: Jesus is risen from the dead! Tell it to all the nations.https://digitalcommons.andrews.edu/books/1346/thumbnail.jp
Clearfield Mayor Mark Shepherd removes mask mandate signs [01]
No full text"Clearfield Mayor Mark Shepherd removes mask requirement signage from Clearfield City Hall following the expiration of the state mask mandate.
The Fourth Annual Messiah Sing-Along December 8, 1983 St. Paul's United Methodist Church Shepherd School Symphony Orchestra Mark Janas, Conductor Shepherd School Student Soloists
No full textPROGRAM: Messiah.. Part I ; Part II (Selections) ; Part III (Selections
- …
