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Mankind is made in the image of God; it is something to which mankind is held accountable. However, God does not define what the image is. Therefore, mankind must place this image within a tangible context of reality in order to conceive of an object in which to be held accountable. To help mankind in this task, God has bestowed three tools for mankind’s disposal. These three tools are 1) Revelation 2) known models/constructs 3) and imagination. Through Revelation God proclaims who He is. Known models in the ancient Near East are used to convey the idea of the function mankind is expected to perform. Finally, imagination is the conduit by which mankind is able to explore the unknown. The New Testament provides a refined nuance. Mankind is able to identify how he is to perform his role as the image of God through the example of Christ.
The findings of extensive research reported in this book are intrinsic to understanding the mystery of creativity and the solving of novel problems. It explores whether feeling can be used to help navigate a path to a solution in a novel mathematics problem solving event and seeks to identify and describe non-cognitive as well as cognitive systems of reasoning used in solving novel mathematics problems. Using a conceptual framework as a process model of creativity, a comprehensive model of creative problem solving that also incorporates the person, product and environment dimensions of creativity, is developed through the construction of a causal model.
Biggers had always been interested in mystery fiction, but his interest in Hawaii clearly stems from a 1919 vacation in Honolulu. While there, he read a newspaper article on a Chinese detective named Chang Apana. Apana would become the model for Charlie Chan in Biggers' 1925 novel, House Without a Key, and there quickly followed five more Charlie Chan novels. Fifty Candles -- first published in the Saturday Evening Post, just two years after that 1919 vacation -- shows how Hawaii, China, and murder had already begun to come together in Biggers' imagination. The story starts in a courthouse in Honolulu, moves to China, then to fog-shrouded San Francisco. Many of the elements used in the Charlie Chan series are present: Chinese characters (both sinister and sympathetic), the Honolulu legal system, a shrewd detective (in this case, the lawyer Mark Drew rather than a policemen), and a baffling murder complete with red herrings and plenty of suspects. Though Fifty Candles is a murder mystery, it is also a romance, with the romantic elements at times in the forefront. Mostly, though, it is a book that will delight Biggers' many fans as they trace the origins of Charlie Chan.Biggers had always been interested in mystery fiction, but his interest in Hawaii clearly stems from a 1919 vacation in Honolulu. While there, he read a newspaper article on a Chinese detective named Chang Apana. Apana would become the model for Charlie Chan in Biggers' 1925 novel, House Without a Key, and there quickly followed five more Charlie Chan novels. Fifty Candles -- first published in the Saturday Evening Post, just two years after that 1919 vacation -- shows how Hawaii, China, and murder had already begun to come together in Biggers' imagination. The story starts in a courthouse in Honolulu, moves to China, then to fog-shrouded San Francisco. Many of the elements used in the Charlie Chan series are present: Chinese characters (both sinister and sympathetic), the Honolulu legal system, a shrewd detective (in this case, the lawyer Mark Drew rather than a policemen), and a baffling murder complete with red herrings and plenty of suspects. Though Fifty Candles is a murder mystery, it is also a romance, with the romantic elements at times in the forefront. Mostly, though, it is a book that will delight Biggers' many fans as they trace the origins of Charlie Chan.Biggers had always been interested in mystery fiction, but his interest in Hawaii clearly stems from a 1919 vacation in Honolulu. While there, he read a newspaper article on a Chinese detective named Chang Apana. Apana would become the model for Charlie Chan in Biggers' 1925 novel, House Without a Key, and there quickly followed five more Charlie Chan novels. Fifty Candles -- first published in the Saturday Evening Post, just two years after that 1919 vacation -- shows how Hawaii, China, and murder had already begun to come together in Biggers' imagination. The story starts in a courthouse in Honolulu, moves to China, then to fog-shrouded San Francisco. Many of the elements used in the Charlie Chan series are present: Chinese characters (both sinister and sympathetic), the Honolulu legal system, a shrewd detective (in this case, the lawyer Mark Drew rather than a policemen), and a baffling murder complete with red herrings and plenty of suspects. Though Fifty Candles is a murder mystery, it is also a romance, with the romantic elements at times in the forefront. Mostly, though, it is a book that will delight Biggers' many fans as they trace the origins of Charlie Chan.
The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.
The Westminter Dictionary of Christian Theology is an important reference for any pastor, scholar, or student of theology. The articles are clearly written, historically informative, and conceptually clarifying. The entries are arranged alphabetically for ease of use.
The publication of Sophie's Choice, one of William Styron's greatest literary achievements, generated a new spark in the critical discussion of the author and is the main emphasis of the interview with Styron and one of the additional essays in this revised edition. The interview was conducted by Robert K. Morris; the essay on Sophie's Choice by Richard Pearce. Other essays include Jane Flanders on Styron's southern myth, Philip W. Leon on Styron's narrative technique, and Ardner R. Cheshire, Jr., and Mary S. Strine on The Confessions of Nat Turner. Originally published in 1975, The Achievement of William Styron was the first collection of critical essays on one of America's most distinguished contemporary fiction writers, and it has become a standard work. Essays from the original edition which are included in this revised edition are those by the editors, and by Louis D. Rubin, Jr., John O. Lyons, Jan B. Gordon, Robert Phillips, and George Core.
Organized by heretical movements and texts from the Gnostic Gospels to The Book of Mormon, this book uses the work of James Joyce – particularly Ulysses and Finnegan's Wake – as a prism to explore how the history of Christian heresy remains part of how we read, write, and think about books today. Erickson argues that the study of classical, medieval, and modern debates over heresy and orthodoxy provide new ways of understanding modernist literature and literary theory. Using Joyce's works as a springboard to explore different perspectives and intersections of 20th century literature and the modern literary and religious imagination, this book gives us new insights into how our modern and “secular” reading practices unintentionally reflect how we understand our religious histories.
Natural Beauty was selected for the Choice Outstanding Academic Title list for 2008! Natural Beauty presents a bold new philosophical account of the principles involved in making aesthetic judgments about natural objects. It surveys historical and modern accounts of natural beauty and weaves elements derived from those accounts into a “syncretic theory” that centers on key features of aesthetic experience—specifically, features that sustain and reward attention. In this way, Moore’s theory sets itself apart from both the purely cognitive and the purely emotive approaches that have dominated natural aesthetics until now. Natural Beauty shows why aesthetic appreciation of works of art and aesthetic appreciation of nature can be mutually reinforcing; that is, how they are cooperative rather than rival enterprises. Moore also makes a compelling case for how and why the experience of natural beauty can contribute to the larger project of living a good life.