115 research outputs found
Keteladanan Kepala Rumah Tangga Sebagai Penatua Jemaat Untuk Pertumbuhan Gereja Berdasarkan 1 Timotius 3:5
No full textThis essay aims to find a correlation between the life example of the head of the household who acts also as a leader of the congregation and the growth of the Church. The author uses the statement in 1 Timothy 3:5 as the basic text, as well as the main inspiration for this description. The methodology used by the author in this research is a literature study. The author develops the topic of discussion by reviewing books, scientific articles, and other literature that discussed the same topic. Based on the analysis of the text of 1 Tim 3:5 the author emphasizes the importance of a church leader who is proven to be responsible for household affairs, namely being able to manage his own house and meet the needs of family members. The reputation of the Church in the development of the congregation will depend on the example of the church leader in managing his own household and his congregation
The Gospel on the Margins: The Ideological Function of the Patristic Tradition on the Evangelist Mark
Full text linkIn spite of the virtually unanimous patristic opinion that the evangelist Mark was the interpreter of Peter, one of the most prestigious apostolic founding figures in Christian memory, the Gospel of Mark was mostly neglected in the patristic period. Not only is the text of Mark the least well represented of the canonical Gospels in terms of the number of patristic citations, commentaries and manuscripts, the explicit comments about the evangelist Mark reveal some ambivalence about its literary or theological value. In my survey of the reception of Mark from Papias of Hierapolis until Clement of Alexandria, I will argue that the reason why the patristic writers were hesitant to embrace the Gospel of Mark was that they perceived the text to be amenable to the Christological beliefs and social praxis of rival Christian factions. The patristic tradition about Mark may have little historical basis, but it had an important ideological function in appropriating the text in the name of an apostolic authority from the margins or periphery
Genetic association study of QT interval highlights role for calcium signaling pathways in myocardial repolarization.
Full text linkThe QT interval, an electrocardiographic measure reflecting myocardial repolarization, is a heritable trait. QT prolongation is a risk factor for ventricular arrhythmias and sudden cardiac death (SCD) and could indicate the presence of the potentially lethal mendelian long-QT syndrome (LQTS). Using a genome-wide association and replication study in up to 100,000 individuals, we identified 35 common variant loci associated with QT interval that collectively explain ∼8-10% of QT-interval variation and highlight the importance of calcium regulation in myocardial repolarization. Rare variant analysis of 6 new QT interval-associated loci in 298 unrelated probands with LQTS identified coding variants not found in controls but of uncertain causality and therefore requiring validation. Several newly identified loci encode proteins that physically interact with other recognized repolarization proteins. Our integration of common variant association, expression and orthogonal protein-protein interaction screens provides new insights into cardiac electrophysiology and identifies new candidate genes for ventricular arrhythmias, LQTS and SCD
C. S. Lewis' Critique of Naturalism in That Hideous Strength
No full textC. S. Lewis was a prolific and versatile author who wrote popular theology, literary criticism, and children's books, as well as science fiction. As a young man he was a professed atheist, but was challenged in his non-belief by reading George MacDonald's Phantastes, G. K. Chesterton's The Everlasting Man, and the philosophy of Henri Bergson. Lewis became interested in Christianity through his association with J. R. R. Tolkien and his own study of St. Augustine, The Imitation of Christ, and Luther's TheologicaGermanica. Later he was profoundly influenced by Aquinas' Summa and came to admire the works of Buber, Marcel, Maritain, and Berdyaev, along with Rudolf Otto's The Idea of the Holy. Though he was a committed rationalist he believed that the highest theological truths could only be understood imaginatively, not rationally. And so he exploited literature's capacity to accomplish that undertaking. Because Lewis became convinced of the philosophically untenable nature of atheism and was sickened by the direction of modernity he attempted to provide an alternative vision through his imaginative literature. This effort is nowhere more evident than in That Hideous Strength, a visionary, apocalyptic novel, written during World War II. It is perhaps Lewis' most forceful attack on the abuses of modernism and the philosophical bulwark of naturalism that sustains it. This doctrine holds, in Lewis' view, "that only nature--the whole interlocked system--exists, and it is the operative underlying belief of the evil forces centered 1n Belbury, hell bent on the perversion of Nature. Only the small band of Christians clustered at St. Anne's can stop them. That confrontation constitutes the structural drama of the work. Lewis held that good literature must perform as a spiritual aid or tool for saying what needed to be said, and that it should always be committed to the pursuit of moral truth. For him imaginative writings serve not only as a creative outlet but also bring home to the reader inner truths in a much more forceful way than can either philosophical or historical forms. Today That Hideous Strength can still be enjoyed and contemplated for its revelations about the nature of man and the inexplicable ways in which the powers of good and evil work through him. The kind of characters who inhabit Belbury, their intentions, and the dramatic situations which arise all serve to underscore the meaning of naturalism and the implications of its long-term use.Englis
"United in Diversity": The Church's Experience and the European Union's Identity Motto. European Diversity and Autonomy Papers. EDAP 2/2008
Full text linkThe paper analyses a potential relationship between religion and politics in the context of the EU’s motto, unity in diversity. It’s aimed at verifying the thesis that claims the European Union’s identity motto has its roots in the ecclesial model of identity. The following analysis is a two–stage one. First, it considers whether the Church’s and the EU’s respective “unities in diversity” mean a similar thing; secondly, it elaborates the channels (cultural, ecclesial and political) through which the ecclesial model has been transferred into European politics. In the last part of the contribution, the author considers the significance of the ecclesial experience for the current European integration debates
Aportaciones teóricas y prácticas sobre la sinestesia y las percepciones sonoras en la pintura contemporánea
Full text link[spa] Esta tesis analiza varios aspectos de la sinestesia en la pintura y la relación entre el oído y la visión en las artes. Tras describir la historia de la relación entre el sonido y la forma desde la filosofía órfica y las teorías pitagóricas, profundiza en los pensamientos de ciertos pensadores importantes (por ejemplo, Newton y Runge) sobre las correspondencias entre las notas musicales y los colores del arco iris o la rueda y la esfera de colores. Más adelante, la tesis estudia los mitos y conceptos de la espiritualidad relativos al sonido y el color que ejercieron gran influencia en muchos artistas del siglo XX, a través de escuelas de pensamiento como la teosofía y la psicología, estudiadas por pintores, músicos y filósofos importantes en la evolución de las artes a principios del siglo XX (por ejemplo, Goethe, Rudolf Steiner, Wassily Kandinsky, Arnold Schönberg y Henri Bergson). Seguidamente, se investiga la relación entre la música y la pintura basándonos en la correspondencia entre pintores y músicos (cual es el caso de Kandinsky, Schönberg, Cage y Johns), centrándose a continuación en distintos artistas interdisciplinarios (por ejemplo, Èiurlionis, Cage, Vladamir-Rossine y Russolo). A continuación se presenta la influencia de las percepciones sonoras y la sinestesia sobre la pintura en Europa y América, destacando las relaciones e influencias compartidas entre Europa y América en los pensamientos y el desarrollo de la pintura sinestésica sonora visual, y la relación entre el arte de la música y la pintura. La tesis hace un recorrido por la historia contemporánea de la pintura sinestésica occidental que expresa percepciones sonoras, y muestra que la relación entre la música y la pintura y el interés por estudiar, entender y expresar el mundo sinestésico en la pintura es una constante en la historia del arte contemporáneo. Explica y analiza estudios recientes de científicos que trabajan con el fenómeno de la sinestesia y vea la obra de importantes pintores recientes que son sinestetas, como David Hockney, Mark Safan y Carol Steen. El trabajo de investigación realizado permite sugerir que la sinestesia y la expresión artística es parte de la naturaleza humana y tiene mucho que ver con su evolución como especie. La conclusión es que la pintura tiene la facilidad de sacar las experiencias sinestésicas desde las profundidades del ser, sin importarle el nivel consciente o subconsciente de aquéllas; llevando tales experiencias a la conciencia del artista y a la materia del mundo a través de abstracciones y analogías simbólicas creadas en el acto de pintar.[eng] Theoretical and Practical Contributions of Synesthesia and Sound to Contemporary Painting. Doctoral thesis by Timothy B. Layden Directed by Doctor Domenec Corbella Llobet This thesis analyses how synesthesia and music have influenced the development of contemporary painting. It compares the historical and mythological roots of the visualization of Sound with contemporary arts, science and philosophy. It gives examples of works of some of the most important contemporary painters explaining their influences and interrelations with the poetry and painting of the last two centuries. It describes the most important links, authentic and contrived, between painting and audio-visual synesthesia, giving examples of poetic associative audio-visual synesthesia in the arts as well as examples of the artistic expressions inspired in the projected synesthesia of true synesthetes. Moreover it highlights the connection between synesthesia, artistic expression and subjectivity. It describes how music inspired the birth of abstract painting and how this influenced the development of numerous movements in modern art which have developed into post modern art and the movements of today, which flourish in subjectivity encouraging originality and individuality. Based on the above research and the synesthetic and artistic experience of the author the following conclusions are made: Synesthesia is fundamental to human experience. Synesthetic sensations are subjective, connected to emotion and memory, and often felt as intangible and ineffable, beyond the individual experiencing it; art is the most accurate way of communicating such experiences. Today freedom of expression thrives, giving us the ability to choose like never before. ethnic, cultural and religious interaction is a defining factor of each individual ethnicity, culture and religion making the ability to understand different points of view crucial for the development of society. Artists have an important role in communicating the deeper and subtler levels of life that give value to experience. Emotions, intuition and synesthetic perceptions, which inspire wonderful works of art and revelations in science, and motivate invention are more powerful than reason and logic. Art is part of human nature, it is where we can communicate more than the obvious, deeper than the surface and more explicitly than words. Its value is in how it opens eyes to new points of view, inspires creativity and influences change. Through artistic creativity and by being more aware of synesthetic aspects of experience we can participate more consciously and actively to involve ourselves in life's evolution, as individuals integrated with nature
Aportaciones teóricas y prácticas sobre la sinestesia y las percepciones sonoras en la pintura contemporánea
No full text[spa] Esta tesis analiza varios aspectos de la sinestesia en la pintura y la relación entre el oído y la visión en las artes. Tras describir la historia de la relación entre el sonido y la forma desde la filosofía órfica y las teorías pitagóricas, profundiza en los pensamientos de ciertos pensadores importantes (por ejemplo, Newton y Runge) sobre las correspondencias entre las notas musicales y los colores del arco iris o la rueda y la esfera de colores. Más adelante, la tesis estudia los mitos y conceptos de la espiritualidad relativos al sonido y el color que ejercieron gran influencia en muchos artistas del siglo XX, a través de escuelas de pensamiento como la teosofía y la psicología, estudiadas por pintores, músicos y filósofos importantes en la evolución de las artes a principios del siglo XX (por ejemplo, Goethe, Rudolf Steiner, Wassily Kandinsky, Arnold Schönberg y Henri Bergson). Seguidamente, se investiga la relación entre la música y la pintura basándonos en la correspondencia entre pintores y músicos (cual es el caso de Kandinsky, Schönberg, Cage y Johns), centrándose a continuación en distintos artistas interdisciplinarios (por ejemplo, Èiurlionis, Cage, Vladamir-Rossine y Russolo). A continuación se presenta la influencia de las percepciones sonoras y la sinestesia sobre la pintura en Europa y América, destacando las relaciones e influencias compartidas entre Europa y América en los pensamientos y el desarrollo de la pintura sinestésica sonora visual, y la relación entre el arte de la música y la pintura. La tesis hace un recorrido por la historia contemporánea de la pintura sinestésica occidental que expresa percepciones sonoras, y muestra que la relación entre la música y la pintura y el interés por estudiar, entender y expresar el mundo sinestésico en la pintura es una constante en la historia del arte contemporáneo. Explica y analiza estudios recientes de científicos que trabajan con el fenómeno de la sinestesia y vea la obra de importantes pintores recientes que son sinestetas, como David Hockney, Mark Safan y Carol Steen. El trabajo de investigación realizado permite sugerir que la sinestesia y la expresión artística es parte de la naturaleza humana y tiene mucho que ver con su evolución como especie. La conclusión es que la pintura tiene la facilidad de sacar las experiencias sinestésicas desde las profundidades del ser, sin importarle el nivel consciente o subconsciente de aquéllas; llevando tales experiencias a la conciencia del artista y a la materia del mundo a través de abstracciones y analogías simbólicas creadas en el acto de pintar.[eng] Theoretical and Practical Contributions of Synesthesia and Sound to Contemporary Painting. Doctoral thesis by Timothy B. Layden Directed by Doctor Domenec Corbella Llobet This thesis analyses how synesthesia and music have influenced the development of contemporary painting. It compares the historical and mythological roots of the visualization of Sound with contemporary arts, science and philosophy. It gives examples of works of some of the most important contemporary painters explaining their influences and interrelations with the poetry and painting of the last two centuries. It describes the most important links, authentic and contrived, between painting and audio-visual synesthesia, giving examples of poetic associative audio-visual synesthesia in the arts as well as examples of the artistic expressions inspired in the projected synesthesia of true synesthetes. Moreover it highlights the connection between synesthesia, artistic expression and subjectivity. It describes how music inspired the birth of abstract painting and how this influenced the development of numerous movements in modern art which have developed into post modern art and the movements of today, which flourish in subjectivity encouraging originality and individuality. Based on the above research and the synesthetic and artistic experience of the author the following conclusions are made: Synesthesia is fundamental to human experience. Synesthetic sensations are subjective, connected to emotion and memory, and often felt as intangible and ineffable, beyond the individual experiencing it; art is the most accurate way of communicating such experiences. Today freedom of expression thrives, giving us the ability to choose like never before. ethnic, cultural and religious interaction is a defining factor of each individual ethnicity, culture and religion making the ability to understand different points of view crucial for the development of society. Artists have an important role in communicating the deeper and subtler levels of life that give value to experience. Emotions, intuition and synesthetic perceptions, which inspire wonderful works of art and revelations in science, and motivate invention are more powerful than reason and logic. Art is part of human nature, it is where we can communicate more than the obvious, deeper than the surface and more explicitly than words. Its value is in how it opens eyes to new points of view, inspires creativity and influences change. Through artistic creativity and by being more aware of synesthetic aspects of experience we can participate more consciously and actively to involve ourselves in life's evolution, as individuals integrated with nature
PCNA and XPF cooperate to distort DNA substrates
Full text linkXPF is a structure-specific endonuclease that preferentially cleaves 3' DNA flaps during a variety of repair processes. The crystal structure of a crenarchaeal XPF protein bound to a DNA duplex yielded insights into how XPF might recognise branched DNA structures, and recent kinetic data have demonstrated that the sliding clamp PCNA acts as an essential cofactor, possibly by allowing XPF to distort the DNA structure into a proper conformation for efficient cleavage to occur. Here, we investigate the solution structure of the 3'-flap substrate bound to XPF in the presence and absence of PCNA using intramolecular Forster resonance energy transfer (FRET). We demonstrate that recognition of the flap substrate by XPF involves major conformational changes of the DNA, including a 90 degrees kink of the DNA duplex and organization of the single-stranded flap. In the presence of PCNA, there is a further substantial reorganization of the flap substrate bound to XPF, providing a structural basis for the observation that PCNA has an essential catalytic role in this system. The wider implications of these observations for the plethora of PCNA-dependent enzymes are discussed.Peer reviewe
Guide for task teams on procurement procedures used in social funds
Full text linkSince the creation of the first Social fund 14 years ago in Bolivia, these funds have been developed in more than 40 countries around the world. Over time they have diversified as well to serve as a very useful instrument for human development. The recommendations in this study are based on an analysis of a sample of procurement audits/ex-post reviews of social funds worldwide. The study provides recommendations for improving the procurement process based on these analyses. In addition, the document provides a description of World Bank instruments in the procurement area. These descriptions can serve as a guide to Task Team Leaders throughout the procurement process. Finally, conclusions and recommendations are given to help improve the administration of procurement for Social funds.Community Development and Empowerment,Business in Development,Business Environment,Pharmaceuticals&Pharmacoeconomics,Decentralization
The meaning, practice and context of private prayer in late Anglo-Saxon England
Full text linkThis thesis is a detailed discussion of the relatively neglected subject of private prayer in late Anglo-Saxon England, mainly focusing on three eleventh-century monastic codices: the Galba Prayerbook (London, British Library Cotton Nero A. ii + Galba A. xiv), Ælfwine’s Prayerbook (London, British Library Cotton Titus D. xxvii + xxvi) and the Portiforium of St Wulstan (Cambridge, Corpus Christi College 391). Chapter One provides a background to the following chapters by introducing a wide variety of English and Continental texts from the ninth century. This chapter demonstrates the many different prayer genres, prayer guides and attitudes to prayer which would be inherited by the late Anglo-Saxons. Chapter Two, which focuses on private adaptations of the canonical Offices, examines the different manuscript contexts in which private prayers were found. It argues that series of prayers were combined into increasingly sophisticated ordines for personal devotion, and that it was from these that the Special Offices arose. Chapter Three applies these concepts to prayers to the Holy Cross. After a discussion of the evidence for prayer before a cross, and involving the sign of the cross, it examines private prayer programmes based on the liturgy for Good Friday and those from which the Special Office of the Cross developed. Chapter Four turns to private confessions, arguing that these prayers were somewhat different from those hitherto discussed. It therefore begins with an exploration of the many kinds of confession which existed in the late Anglo-Saxon church, before examining a number of private confessional prayers in detail. Throughout this thesis, emphasis is placed on the bodily experience of prayer in its time and place, and upon the use of each text as it is found in the prayerbooks of eleventh-century England
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