The story of man's fall, Jesus' sacrifice to make possible his redemption, and the final restoration of the saved in the new earth. Bible study summaries follow many of the chapters. 80 full-page illustrations, 14 color in the subscription edition. - 1 A Rebel Visits Eden 2 Paradise Lose 3 The Results of Sin 4 Unto You Is Born a Saviour 5 Jesus The Son of God 6 The Man: Christ Jesus 7 His Blood for Our Sins 8 What Must I Do to Be Saved? 9 Twice-born Men 10 Justified by Faith 11 Living by Faith 12 Arise and Be Baptized 13 At the Lord's Table 14 Our Heavenly Allies 15 Eternal Life Through Christ 16 The Great Deception 17 How to Get Answers to Prayer 18 The Gospel Illustrated 19 Shadows of the Cross Abolished 20 God's Two Laws 21 God's Way in the Sanctuary 22 Full Pardon Through the Atonement 23 The Earthly Sanctuary Defiled by Sin, Cleansed With Blood 24 Cleansing of the Heavenly Sanctuary; the Judgment 25 The Judgment Day Fixed 26 God Warns the Nations 27 Salvation Through the New Covenant 28 Heavenly Citizenship 29 The True Israel of God 30 The Sign of the True God 31 The Sign of Christ's Power to Save 32 God's Sign Altered by Man 33 Man Is Akin to God 34 Jesus Is Coming Again 35 Signs That His Coming Is Near 36 There Shall Be Wars 37 Armageddon and the End 38 Deliverance at Last 39 Christ's Final Victory Over Sin 40 Paradise Restored

Drama of the Age is a fresh look at Revelations. Beginning with the initialvision and letters, it presents both the preparation and action of the divinedrama.

Originally published in 1965. The European dramatic tradition rests on a group of religious dramas that appeared between the tenth and twelfth centuries. These dramas, of interest in themselves, are also important for the light they shed on three historical and critical problems: the relation of drama to ritual, the nature of dramatic form, and the development of representational techniques. Hardison's approach is based on the history of the Christian liturgy, on critical theories concerning the kinship of ritual and drama, and on close analysis of the chronology and content of the texts themselves. Beginning with liturgical commentaries of the ninth century, Hardison shows that writers of the period consciously interpreted the Mass and cycle of the church year in dramatic terms. By reconstructing the services themselves, he shows that they had an emphatic dramatic structure that reached its climax with the celebration of the Resurrection. Turning to the history of the Latin Resurrection play, Hardison suggests that the famous Quem quaeritis—the earliest of all medieval dramas—is best understood in relation to the baptismal rites of the Easter Vigil service. He sets forth a theory of the original form and function of the play based on the content of the earliest manuscripts as well as on vestigial ceremonial elements that survive in the later ones. Three texts from the eleventh and twelfth centuries are analyzed with emphasis on the change from ritual to representational modes. Hardison discusses why the form inherited from ritual remained unchanged, while the technique became increasingly representational. In studying the earliest vernacular dramas, Hardison examines the use of nonritual materials as sources of dramatic form, the influence of representational concepts of space and time on staging, and the development of nonceremonial techniques for composition of dialogue. The sudden appearance of these elements in vernacular drama suggests the existence of a hitherto unsuspected vernacular tradition considerably older than the earliest surviving vernacular plays.

A thrilling historical account of the role of the Bible throughout the ages. The book provides a unique perspective on the events that took place in different eras and how they shaped the course of history. It's a must-read for anyone interested in theology and the impact of religion on human civilization. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Drama and Reading for Meaning Ages 4-11 contains over forty creative drama ideas to help develop reading for meaning in the primary school. The wide range of clearly explained, structured and engaging drama activities will appeal to all primary practitioners who wish to develop more creative approaches to the teaching of reading. The activities show how drama can develop some of the skills associated with reading for meaning such as empathising with characters' feelings, exploring settings and themes, and making inferences based on evidence. The step-by-step activities range from familiar classroom drama strategies such as freeze-frames and hot seating to less well-known approaches involving whole class drama experiences. The book also serves as an introduction to using drama as a learning medium, with advice on how to set the ground rules and clear explanations of the drama strategies. Each chapter has a detailed explanation of what to do, followed by a number of examples linked to quality texts, including poetry and non-fiction. From bringing books to life in reception and Years 1 and 2, to peeling back the layers of meanings in Years 3 to 6 all the drama activities in this book are designed to improve reading for meaning and help motivate children to read for pleasure, making this an essential resource for all primary settings.

This is a new release of the original 1934 edition.