The Johannine Epistles are today read as an important part of the Johannine literature. Yet the meaning of the text is often unclear. Part of the problem arises because, although 1 John is called an Epistle, it lacks the formal marks of an Epistle. In 1, 2, and 3 John, John Painter illuminates the relationship 1, 2, and 3 John have to each other and to the Gospel.Painter explains the historical context of the Johannine Epistles using a socio-rhetorical approach. The writin...

Mark's 'biography' of Jesus is the earliest of the four gospels, and influenced them all. The distinctive feature of this biography is the quality of 'good news', which presupposes a world dominated by the forces of evil. John Painter shows how the rhetorical and dramatic shaping of the book emphasises the conflict of good and evil at many levels - between Jesus and the Jewish authorities, Jesus and the Roman authorities, and the conflict of values within the disciples themselves. These ma...

This extract from the Eerdmans Commentary on the Bible provides Painter and McKnight's introduction to and concise commentary on the Epistles of John and Jude. The Eerdmans Commentary on the Bible presents, in nontechnical language, the best of modern scholarship on each book of the Bible, including the Apocrypha. Reader-friendly commentary complements succinct summaries of each section of the text and will be valuable to scholars, students, and general readers.Ra...

In this addition to the well-received Paideia series, two respected New Testament scholars offer a practical commentary on James and Jude that is conversant with contemporary scholarship, draws on ancient backgrounds, and attends to the theological nature of the texts.This commentary, like each in the projected eighteen-volume series, proceeds by sense units rather than word-by-word or verse-by-verse. Paideia commentaries explore how New Testament texts form Christian readers by

The work now laid before the public originated in indignation at the shallow and false criticism of the periodicals of the day on the works of the great living artist to whom it principally refers. It was intended to be a short pamphlet, reprobating the matter and style of those critiques, and pointing out their perilous tendency, as guides of public feeling. But, as point after point presented itself for demonstration, I found myself compelled to amplify what was at first a letter to the ...

John Ruskin's 'Modern Painters' is a comprehensive exploration of art and its role in society during the 19th century. Written in a highly descriptive and philosophical style, the book delves into the significance of landscape painting and the principles of artistry. Ruskin's detailed analysis of works by artists such as J.M.W. Turner provides valuable insight into the Romantic movement and the changing perceptions of beauty in art. Drawing upon his background in art criticism and his deep...

John Richardson draws on the same combination of lively writing, critical astuteness, exhaustive research, and personal experience which made a bestseller out of the first volume and vividly recreates the artist's life and work during the crucial decade of 1907-17 - a period during which Pablo Picasso and Georges Braque invented Cubism and to that extent engendered modernism.Richardson has had unique access to untapped sources and unpublished material. By harnessing biography to ar...

Modern Painters is a five-volume work by the eminent Victorian art critic, John Ruskin. The work placed emphasis on symbolism in art, expressed through nature and it was influential on the early development of the Pre-Raphaelite Brotherhood. Ruskin wrote Modern Paintings for 17 years updating it and adding later volumes in subsequent years. The book was primarily written as a defense of the later work of J. M. W. Turner. Ruskin argues that recent painters emerging from the tradition of the...

Modern Painters (Vol. 1–5) is Ruskin's great Victorian treatise on landscape, fusing lyrical cadence with minute observation. Over seventeen years he vindicates Turner and the principle of "truth to nature," opposing academic formulae with analyses of clouds, rocks, foliage, and light informed by geology and travel. He coins the "pathetic fallacy," frames a moral theology of seeing, and links Giotto to the Pre-Raphaelites. Born to a cultivated wine-merchant father and exposed early to Turn...

In "Frondes Agrestes: Readings in 'Modern Painters'," John Ruskin provides a profound exploration of art aesthetics through the lens of nature and morality. This collection of lectures and essays critically engages with his earlier work, "Modern Painters," emphasizing the interplay between artistic expression and the sublime beauty of the natural world. Ruskin'Äôs literary style is characterized by eloquent prose and rich visual imagery, immersing readers in a poignant critique of industri...

The eighteenth Tarot card is the Moon, and those who raise their arms to her know she offers Mercy and Severity in equal measure. This is the great river at night, where wolves howl and all doors are open. All futures are possible, and every truth is elusive. This is the source and passion of Eighteen: Stories of Mischief & Mayhem. These twenty-four stories from voices—old and new—celebrate the inevitability of fate, the horror of prophecy, and the shivering delight of not knowing...

The work now laid before the public originated in indignation at the shallow and false criticism of the periodicals of the day on the works of the great living artist to whom it principally refers. It was intended to be a short pamphlet, reprobating the matter and style of those critiques, and pointing out their perilous tendency, as guides of public feeling. But, as point after point presented itself for demonstration, I found myself compelled to amplify what was at first a letter to the ...