The Spirituality of a quarter of all Christians can be characterized as "charismatic." Pentecostalism itself is one of the most rapidly growing religious movements in America and abroad. Despite these facts, little serious effort has been made to develop a systematic Pentecostal theology - until now. Word and Spirit at Play is the first work to outline a theology that does full justice to the Pentecostal experience of God's Word and Spirit. Dutch scholar Jean-Jacques Suurmond, who is himself a Pentecostal, draws on two decades of work in Pentecostalism to demonstrate in a simple yet scholarly way how a charismatic approach shapes the lives of Christians and the church. Suurmond describes the history and characteristics of present-day Pentecostalism, discusses the significance of Spirit baptism to the Pentecostal life, reflects seriously on the "gifts of grace," (including tongues), and celebrates the role of "play" in Pentecostal worship. This book will be invaluable both to theologians - who have long wanted a scholarly synthesis of charismatic theology - and to laypeople, especially Pentecostals wanting to deepen their faith and other believers searching for a spirituality that opens up new sources of Christian community. JEAN-JACQUES SUURMOND is a Reformed minister in Vlaardingen, the Netherlands.

As Bing Crosby once put it, Tiny Tim represents 'one of the most phenomenal success stories in show business'. In 1968, after years of playing dive bars and lesbian cabarets on the Greenwich Village scene, rubbing shoulders with the likes of Bob Dylan and Lenny Bruce, the forty-something falsetto-voiced, ukulele-playing Tiny Tim landed a recording contract with Sinatra's Reprise label and an appearance on NBC's Laugh-In. The resulting album, God Bless Tiny Tim, and its single, 'Tip-toe Thru' The Tulips With Me', catapulted him to the highest levels of fame. Soon, Tiny was playing to huge audiences in the USA and Europe, while his marriage to the seventeen-year-old 'Miss' Vicki was broadcast on The Tonight Show in front of an audience of fifty million. Before long, however, his star began to fade. Miss Vicki left him, his earnings evaporated, and the mainstream turned its back on him. He would spend the rest of his life trying to revive his career, with many of those attempts taking a turn toward the absurd. But while he is often characterized as an oddball curio, Tiny Tim was a master interpreter and student of early American popular song, and his story is one of Shakespearean tragedy framed around a bizarre yet loveable public persona. Here, drawing on dozens of new interviews, never-before-seen diaries, and years of original research, author Justin Martell brings that story to life with the first serious biography of one of the most fascinating yet misunderstood figures in popular music.

Join Steve Amerson as he shares an artist's glimpse from the recording studios of Los Angeles, from backstage and behind the curtain of the Hollywood Bowl and Carnegie Hall, to within the halls of the United States Capitol. The Hollywood Bowl, Carnegie Hall, Jerusalem's Southern Steps, The United States Rotunda-imagine singing in these venues! Steve Amerson takes readers on a journey of his personal singing experiences in these revered and hallowed spaces as well his performances in other exceptional settings. With more than thirty years of concertizing, Steve shares inspirational, entertaining, and behind-the-scenes accounts of a life filled with song. In these pages, Steve opens his heart and reveals the way that music has allowed him to encourage others and to glorify God. These are the Tales of a Troubadour.

Contrary to popular belief, the medieval religious imagination did not restrict itself to masculine images of God but envisaged the divine in multiple forms. In fact, the God of medieval Christendom was the Father of only one Son but many daughters—including Lady Philosophy, Lady Love, Dame Nature, and Eternal Wisdom. God and the Goddesses is a study in medieval imaginative theology, examining the numerous daughters of God who appear in allegorical poems, theological fictions, and the visions of holy women. We have tended to understand these deities as mere personifications and poetic figures, but that, Barbara Newman contends, is a mistake. These goddesses are neither pagan survivals nor versions of the Great Goddess constructed in archetypal psychology, but distinctive creations of the Christian imagination. As emanations of the Divine, mediators between God and the cosmos, embodied universals, and ravishing objects of identification and desire, medieval goddesses transformed and deepened Christendom's concept of God, introducing religious possibilities beyond the ambit of scholastic theology and bringing them to vibrant imaginative life. Building a bridge between secular and religious conceptions of allegorized female power, Newman advances such questions as whether medieval writers believed in their goddesses and, if so, in what manner. She investigates whether the personifications encountered in poetic fictions can be distinguished from those that appear in religious visions and questions how medieval writers reconcile their statements about the multiple daughters of God with orthodox devotion to the Son of God. Furthermore, she examines why forms of feminine God-talk that strike many Christians today as subversive or heretical did not threaten medieval churchmen. Weaving together such disparate texts as the writings of Latin and vernacular poets, medieval schoolmen, liturgists, and male and female mystics and visionaries, God and the Goddesses is a direct challenge to modern theologians to reconsider the role of goddesses in the Christian tradition.

The relationship between music and religion has long been a clearly delineated one. Up to the late Middle Ages, music employed for ritual expressions of faith in sacred contexts was contrasted with secular music, then mostly played in open spaces. The former was believed to aid in the communication of divine truths, while the latter was suspected of arousing sensuality and thus potentially leading away from the spiritual perspective of life. In subsequent centuries, music entered first the courtly salons, then the concert hall and the home. Such music, created for virtuoso performance or for the enjoyment in private chambers, occasionally made room for an expression of religious experiences outside the dedicated spaces of worship. This aspect is particularly intriguing in instrumental music, where allusions to extra-musical messages are at best hinted at in titles or explanatory notes, and in those cases of vocal music where it can be shown that the musical language adds significant nuances to the verbal text. On the basis of various case studies that transcend a music-analytical approach in the direction of the hermeneutic perspective, this volume explores in which ways the musical language in itself, independently of an explicitly sacred context, communicates the ineffable. The discussion focuses on the musical means and devices employed to this effect and on the question what the presence of religious messages in certain works of secular music tells us about the spirituality of an era.