Religion Commons^™

Religious Liberty

Shabbat Shalom: A Journal for Jewish-Christian Reconciliation

No abstract provided.

St. Francis Of Assisi Catholic Church And Center For The Deaf Sunday Bulletin, April 1, 2007

Saint Francis of Assisi Catholic Church and Center for the Deaf Sunday Bulletin

A newsletter published for Deaf Catholics in Landover Hills, MD

St. Francis of Assisi Catholic Church and Center for the Deaf Sunday Bulletin Finding Aid

South Union Messenger (Spring 2007), Kentucky Library Research Collections

South Union Messenger

No abstract provided.

Hudson Valley Catholic Deaf Center, April 2007

Hudson Valley Catholic Deaf Center

A newsletter published for Deaf Catholics in Poughkeepsie,NY

Hudson Valley Catholic Deaf Center Finding Aid

Signs Of Faith, April 2007

Signs of Faith

A newsletter published for Deaf Catholics in Paterson, NJ

Signs of Faith Finding Aid

Writing And Imitation: Greek Education In The Greco-Roman World, Rubén R. Dupertuis

Religion Faculty Research

The imitation of a handful of accepted literary models lies at the core of the Greco-Roman educational process throughout all of its stages. While at the more advanced levels the relationship to models became more nuanced, the underlying principle remained the imitation of those authors who had achieved greatness. Quintilian explains the rationale as follows:

For there can be no doubt that in art no small portion of our task lies in imitation, since although invention came first and is all-important, it is expedient to imitate whatever has been invented with success. And it is a universal rule of life …

Calvin Theological Seminary Forum: April 2007, Lyle D. Bierma, David M. Rylaarsdam, Jeffrey A.D. Weima, John D. Witvliet

Calvin Theological Seminary Forum (2002- )

Reflections on Children at the Lord's Supper
3 - Children at the Lord’s Supper and Reformed Theology by Lyle D. Bierma
5 - United, Separated, Re-united: The Story of Baptism and the Lord’s Supper by David M. Rylaarsdam
7 - Children at the Lord’s Supper and the Key Text of 1 Corinthians 11:17-34 by Jeffrey A.D. Weima
9 - Children at the Table: Some Provisional Answers to the Practical Questions by John D. Witvliet

Departments
12 - Continuing Education
13 - News
14 - Formation for Ministry

Jones, Willis R. (Sc 1480), Manuscripts & Folklife Archives

Manuscript Collection Finding Aids

Finding aid only for Manuscripts Small Collection 1480. Speech delivered by Willis R. Jones titled "Journey Into Union: Drama and Destiny" in which he discussed the early development of the Christian Church in Kentucky. The presentation was made at the Cane Ridge Meeting House on 29 June 1982.

Introduction, Gary L. Mcintosh

Journal of the American Society for Church Growth

No abstract provided.

My Pilgrimage In Church Growth, Waldo J. Werning

Journal of the American Society for Church Growth

By the Spirit’s strength, various teachers and mentors shared truths and life applications of God’s Word with me to walk the justification and sanctification path Jesus offers with the light that He gives. My pilgrimage in the ministry of church growth that involved both Christian stewardship and church health has been and is one of reflecting Christ, our Savior and Lord, and learning from teachers, mentors, leadership networks and informative books that provided a healthy diet of God’s Word.

A Christian Vision Of The Earth, Ellen M. Ross

Religion Faculty Works

No abstract provided.

The Fifth Wave: Cultural And Commercial Viability (2000-Present), Randy Astle, Gideon O. Burton

BYU Studies

The Fifth Wave of Mormon cinema is the current period, in which a culturally robust and commercially vibrant new art form is beginning to emerge. Its most obvious manifestation is in the stream of Mormon-themed theatrical feature films, produced independently of the Church, made by and for Latter-day Saints. Richard Dutcher’s much-celebrated God’s Army, released in March 2000, made him widely recognized as the father of this new movement in Mormon film, but his groundbreaking work actually marks a return to the past. The LDS filmmakers of the First Wave also sought to create 35mm films to be distributed …

The Passible Potter And The Contingent Clay: A Theological Study Of Jeremiah 18:1–10, John C. Peckham

Faculty Publications

No abstract provided.

Models Of Religious Authority, Darius Jankiewicz

Faculty Publications

No abstract provided.

The Sabbath In The First Creation Account, Jiri Moskala

Faculty Publications

No abstract provided.

Preliminary Report Of The 2000, 2004, And 2005 Seasons At Tall Jalul, Jordan (Madaba Plains Project) With David Merling, Paul Ray, Mark Ziese, Constance Gane, And Katherine Koudele, Paul Z. Gregor

Faculty Publications

No abstract provided.

Book Review Of Brad: Visionary Spiritual Leadership, By Harold L. Lee, With Monte Sahlin, Trevor O'Reggio

Faculty Publications

No abstract provided.

Demons And The Making Of The Monk: Spiritual Combat In Early Christianity By David Brakke (Review), Douglas E. Christie

Theological Studies Faculty Works

No abstract provided.

Spirituality: Its Uses And Misuses, Douglas E. Christie

Theological Studies Faculty Works

No abstract provided.

Hesychia: The Practice Of Stillness, Douglas E. Christie

Theological Studies Faculty Works

No abstract provided.

"There Is Room For Both": Mormon Cinema And The Paradoxes Of Mormon Culture, Terryl L. Givens

BYU Studies

Sometimes a culture includes more tension than harmonious cohesion, often due to paradoxes within the culture. Such tensions provide material for artists of all kinds to explore in their works. Mormonism presents at least three paradoxes: first, the necessity to be certain in one's testimony but to also always be asking questions in search of further truth; second, the tendency to diminish the distance between the sacred and banal; and third, the desire to be a peculiar, chosen people but not to feel isolated. Terryl L. Givens discusses the treatment of these paradoxes in Mormon movies, particularly those made by …

Review: 'The Gospel Of Faith And Justice', Cyril Orji

Theology and Religious Studies Faculty Publications

No abstract provided.

Establishing Shot: The Scope Of Mormon Cinema, Gideon O. Burton

BYU Studies

Gideon O. Burton introduces the special issue dedicated to Mormon cinema by giving a brief overview of the other articles appearing in the issue and clarifying what Mormon cinema is: any film made by or about Mormons, from Church-produced movies used for teaching and training to YouTube segments; from student-made films to theatrically released movies. He also discusses the importance of film criticism in creating a quality Mormon cinema tradition.

A History Of Mormon Cinema, Randy Astle, Gideon O. Burton

BYU Studies

LDS Church members who heralded Richard Dutcher's 2000 film, God's Army, as the first Mormon movie may not have known about similar public sentiments expressed about previous landmark Mormon movies, like the 1940 motion picture Brigham Young. The history of Mormon cinema stretches back to the early 1900s and is divided into five "waves." The authors examine the waves in detail, discussing each era's Church-made films, Mormon-themed films made by independent filmmakers, mainstream films made by Latter-day Saints, and films that depicted Mormons—accurately or not. The authors also touch on developing trends in how film is made, criticized, …

The First Wave: The Clawson Brothers And The New Frontier (1905-1929), Randy Astle, Gideon O. Burton

BYU Studies

In calling this era the new frontier, there is some danger of forgetting the large industrial organizations that supported film’s early pioneers. The analogy, however, is of some use here not only because of Utah’s recent pioneer past at the turn of the century—only a generation removed—but primarily because of the proud, isolationist stance LDS filmmakers were forced to assume in response to the mainstream industry’s attacks on their religion. With no political redress or recourse to non-Mormon allies, the Latter-day Saints were left to their own devices to depict what they saw as the glories of their scriptures, forebears, …

The Second Wave: Home Cinema (1929-1953), Randy Astle, Gideon O. Burton

BYU Studies

The Second Wave differed from the First in various respects. For instance, by the 1930s the global film industry was well past its primitive pioneer era, and, within Mormonism, the increased sophistication of Second Wave films reflects this progress. In addition, technical advances (principally sound, but also color) renewed enthusiasm about the medium, both generally and among the Latter-day Saints. While this optimism did propel institutional and independent Mormon filmmaking toward some major projects, the decade of the 1930s—and to a lesser extent the 1940s— has generally been described for its lack of Mormon film production. Such a perception, however, …

The Third Wave: Judge Whitaker And The Classical Era (1953-1974), Randy Astle, Gideon O. Burton

BYU Studies

The Third Wave of Mormon cinema is unquestionably the age of Judge Whitaker. He represents the development of Mormon film from its pioneer infancy into classical maturity. The similarities to Hollywood’s classical era are numerous (with important exceptions). Most obviously, Mormon film finally left behind the multitasking artisanal mode of prior decades in favor of a studio-based industrial infrastructure featuring specialized workers. Equally important, the BYU studio produced films of an identifiable, consistent, and aesthetically and culturally conservative style deeply rooted in Hollywood norms. It supplied a steady stream of products to a vertically integrated distribution and exhibition network. Finally, …

The Fourth Wave: The Mass Media Era (1974-2000), Randy Astle, Gideon O. Burton

BYU Studies

The Fourth Wave deserves to be known as the Mass Media Era for at least three reasons. First, it was the first period dominated by video technology and various media besides traditional film; though I shall continue to use the term filmmaking, the majority of productions were now distributed electronically, even if they did not originate that way. Second, because of electronic distribution and the inexpensiveness and ubiquity of video, this era was marked by an incredibly wide dissemination of film compared with previous eras. Television, VHS, and satellite broadcasts revolutionized distribution by making obsolete the exhibition of an …

Finding An Audience, Paying The Bills: Competing Business Models In Mormon Cinema, Eric Samuelsen

BYU Studies

The Hollywood business model most filmmakers employ involves both a production company and a film studio. The two entities make a deal, and the production company shoots the movie before the studio promotes and sells the movie. Hence, films that don't attract the support of a studio often can't be advertised and distributed as widely. In many cases, the movies can't even be made without a studio's financial backing. In the Mormon film industry, some filmmakers have employed the usual Hollywood business model. Others have created their own studios to market their films, like Halestorm, and some filmmakers bypass the …

A Manifesto For "Fit For The Kingdom": Dean Duncan's Proposal For A Mormon Documentary Series, Gideon O. Burton

BYU Studies

Developments in Mormon cinema in the last few years have taken place not only with popular narrative feature films intended for theatrical exhibition. Independently produced documentary film, which actually has a stronger tradition within Mormonism, has also been growing. One group, a coalition of Brigham Young University faculty and students and independent filmmakers led by Dean Duncan of BYU’s Theatre and Media Arts Department, has been creating a series of documentary films entitled “Fit for the Kingdom.”