Michael Plekon's Tradition Alive presents a collection of essays highlighting not only the vibrant tradition of 20th century Eastern Orthodox thought, but also the necessity of its inclusion in the theological canon constructed mainly by Western Christian thinkers. Ranging from the thought of the first generation of Russian émigrés to contemporary Eastern Orthodox theologians, the essays in Tradition Alive point toward a positive theology that is convinced of the immanence of the holy spirit despite a world torn apart by revolution, violence, and despair. The contributors profess their faith in the transforming presence of Christ and the divine dimensions of the church by looking to the meaning and power of tradition in the practices of Eastern Orthodox Christianity. By focusing on the Orthodox Church's ecclesial and liturgical character, the authors emphasize the living character of the Christian tradition. With many contributions difficult, if not impossible, to access until now, Tradition Alive presents a brave and distinctive effort to enliven Western theology by looking to the theology of the East.

A fresh, creative introduction to theological ethics. Offering an imaginative approach through dialogue with theatrical theory and practice, Vander Lugt demonstrates a new way to integrate actor-oriented and action-oriented approaches to Christian ethics within a comprehensive theodramatic model. This model affirms that life is a drama performed in the company of God and others, providing rich metaphors for relating theology to everyday formation and performance in this drama. This book contains not only a fruitful exchange between theological ethics and theatre, but it also presents a promising method for interdisciplinary dialogue between theology and the arts that will be valuable for students and practitioners across many different fields.

Michael Plekon's Tradition Alive presents a collection of essays highlighting not only the vibrant tradition of 20th century Eastern Orthodox thought, but also the necessity of its inclusion in the theological canon constructed mainly by Western Christian thinkers. Ranging from the thought of the first generation of Russian ZmigrZs to contemporary Eastern Orthodox theologians, the essays in Tradition Alive point toward a positive theology that is convinced of the immanence of the holy spirit despite a world torn apart by revolution, violence, and despair. The contributors profess their faith in the transforming presence of Christ and the divine dimensions of the church by looking to the meaning and power of tradition in the practices of Eastern Orthodox Christianity. By focusing on the Orthodox Church's ecclesial and liturgical character, the authors emphasize the living character of the Christian tradition. With many contributions difficult, if not impossible, to access until now, Tradition Alive presents a brave and distinctive effort to enliven Western theology by looking to the theology of the East.

First published in 1998. As a cultural entity of over five thousand years of history, Chinese music is a multi-faced phenomenon consisting of diverse regional and transregional traditions. Two large categories of Chinese music can be distinguished: music(s) of the Han nationality and music(s) of the ethnic nationalities. The present volume brings together ten articles written largely by native scholars, with the general aim of presenting a dialogue about Chinese music from 'insider's' view-points.

Plato’s dialogues are some of the most widely read texts in Western philosophy, and one would imagine them fully mined for elemental material. Yet, in Plato and Tradition, Patricia Fagan reveals the dialogues to be continuing sources of fresh insight. She recovers from them an underappreciated depth of cultural reference that is crucial to understanding their central philosophical concerns. Through careful readings of six dialogues, Fagan demonstrates that Plato’s presentation of Socrates highlights the centrality of tradition in political, erotic, and philosophic life. Plato embeds Socrates’s arguments and ideas in traditional references that would have been familiar to contemporaries of Socrates or Plato but that today’s reader typically passes over. Fagan’s book unpacks this cultural and literary context for the proper and full understanding of the philosophical argument of the Platonic dialogues. She concludes that, as Socrates demonstrates in word and deed, tradition is essential to successful living. But we must take up tradition with a critical openness to questioning its significance and future. Her original and compelling analyses may change the views of many readers who think themselves already well versed in the dialogues.

In Coterie Poetics and the Beginnings of the English Literary Tradition, R. D. Perry reveals how poetic coteries formed and maintained the English literary tradition. Perry shows that, from Geoffrey Chaucer to Edmund Spenser, the poets who bridged the medieval and early modern periods created a profusion of coterie forms as they sought to navigate their relationships with their contemporaries and to the vernacular literary traditions that preceded them. Rather than defining coteries solely as historical communities of individuals sharing work, Perry reframes them as products of authors signaling associations with one another across time and space, in life and on the page. From Geoffrey Chaucer’s associations with both his fellow writers in London and with his geographically distant French contemporaries, to Thomas Hoccleve’s emphatic insistence that he was “aqweyntid” with Chaucer even after Chaucer’s death, to John Lydgate’s formations of “virtual coteries” of a wide range of individuals alive and dead who can only truly come together on the page, the book traces how writers formed the English literary tradition by signaling social connections. By forming coteries, both real and virtual, based on shared appreciation of a literary tradition, these authors redefine what should be valued in that tradition, shaping and reshaping it accordingly. Perry shows how our notion of the English literary tradition came to be and how it could be imagined otherwise.

The Baganda people of Uganda enjoy an extraordinarily rich oral tradition, which serves as a window into their culture, history, and experiences as a people. This comprehensive, multigenre work is both a study of the Baganda people's oral literature--framed within the broader contexts of the African oral tradition genre, modern African literature, and global literary studies--and a collection of representative stories. Cultural explanations throughout the text explore the living culture of this unique East African nation. Particular attention is paid to the history of Uganda, thus placing the oral tradition within its proper context. An appendix offers sample Luganda songs.