In mid-twentieth-century Britain, an archaeological vision of the British landscape reassured and enchanted a number of writers, artists, photographers, and film-makers. From John Piper, Eric Ravilious and Shell guide books, to photographs of bomb damage, aerial archaeology, and The Wizard of Oz, Kitty Hauser delves into these evocative interpretations and looks at how they affected the way the landscape was seen.
É comum o pensamento em que se julga uma conduta que não se enquadra em determinado mandamento divino como pecado. Argumenta-se que não existe pecado maior ou menor e que pecado é pecado e tem como consequência a morte espiritual. A partir desse pensamento desenvolvo o conceito analítico de pecado, não como um ato, mas como um percurso, com suas atenuantes, agravantes e consequências. O presente artigo faz uma análise da Teoria Formal do Crime e a partir deste ponto controvertido fixa o conceito analítico de pecado. Ilustro o tema descrevendo a visão de John Piper sobre a graça futura e a sua relação com um dos elementos do conceito de pecado bem como a resposta de Zaffaroni sobre conduta humana.
The prince of the pagodas, Britten's only ballet score (his only mature score originally composed for the ballet, that is), and that comparatively rare bird in the 20th century, afull-lengthballet, was first performed at the Royal Opera House, Covent Garden, in 1957, on the first day of the new year, with the composer conducting. The choreographer was John Cranko and the scenery was designed by John Piper.
I examine the general goodwill that the New Calvinist movement feels toward C. S. Lewis, and identify what I see as an anomaly in it. I argue that New Calvinists have good reason, based on their theology, to reject C. S. Lewis as an evangelical Christian on account of his doctrine of the atonement, and that their justification for not doing so is unsatisfactory. I engage the work of John Piper and Douglas Wilson as representatives of the movement, and show that in attempting to justify Lewis they misrepresent his beliefs. However, I then argue that they are nevertheless right in their insight that Lewis is ‘someone special’ who must be a Christian regardless of his problematic beliefs. Rather than engage in attempts to justify and explain away these important theological differences, I suggest that New Calvinists should think of them as anomalies which can be used to critically examine their own theology.
Save for a cursory reference, art history tends to ignore dance and in particular the work made by Graham Sutherland and John Piper for the choreographer Frederick Ashton during the early 1940s. By overlooking dance and its designs, other than those for the Ballets Russes, the art world is wasting a valuable resource. In the following article I consider how the collaborations between Ashton, Sutherland and Piper illuminate the extent to which both the ballets and their designs were products not only of the circumstances of the 1939–1945 war but also, in particular, the propaganda of the period. This article considers how the particular discursive formations that shaped Ashton's ballets and the work of the artists led to dances and designs that were unique in both Ashton's output and that of the two painters.
O MUNDO CAÍDO: UM CONCEITO ANALÍTICO PARA O PECADO
