Traditionally, Wagnerian scholarship has always treated the Ring and Parsifal as two separate works. The Redeemer Reborn: Parsifal as the Fifth Opera of Wagner's Ring shows how Parsifal is in fact actually the fifth opera of the Ring. Schofield explains in detail how these five musical dramas portray a single, unbroken story which begins at the start of Das Rheingold when Wotan breaks a branch from the World Ash-tree and Alberich steals the gold of the Rhine, thus separating Spear and Grail, and ends with the reunion of the Spear and Grail in the temple of Monsalvat at the end of Parsifal. Schofield explains how and why the four main characters of the Ring are reborn in the opera Parsifal, needing to complete in Parsifal the spiritual journey begun in the Ring. He also shows how the redemption that is not attained in the process of the Ring is finally realized in the events of Parsifal.

Offering an original reading of the book of Job, one of the great literary classics of biblical literature, this book develops a new analogical method for understanding how biblical texts evolve in the process of transmission. Zuckerman argues that the book of Job was intended as a parody protesting the stereotype of the traditional righteous sufferer as patient and silent. He compares the book of Job and its fate to that of a famous Yiddish short story, "Bontsye Shvayg," another covert parody whose protagonist has come to be revered as a paradigm of innocent Jewish suffering. Zuckerman uses the story to prove how a literary text becomes separated from the intention of its author, and takes on quite a different meaning for a specific community of readers.

This Companion provides a definitive collection of essays on postmodern theology, drawing on the work of those individuals who have made a distinctive contribution to the field, and whose work will be significant for the theologies written in the new millennium. The definitive collection of essays on postmodern theology, drawing on the work of those individuals who have made a distinctive contribution to the field. Each essay is introduced with a short account of the writer's previous work, enabling the reader to view it in context. Discusses the following desciplines: Aesthetics, Ethics, Gender, Hermeneutics, Phenomenology, Heideggerians, and Derrideans. Edited by Graham Ward, one of the most outstanding and original theologians working in the field today.

The first account of how Wagner's last years and his death in Venice have been mythologized in novels and other works of the creative imagination. The vast literature about Richard Wagner and his works includes a surprising number of fictional works, including novels, plays, satires, and an opera. Many of these deal with his last years and his death in Venice in 1883 -- andeven a fabricated eleventh-hour romance. These fictional treatments -- many presented here in English for the first time -- reveal a striking evolution in the way that Wagner's character and reputation have been viewed over more than a century. They offer insights into changing contexts in Western intellectual and cultural history. And they make clear how much Wagner's associations with Venice have become part of the accumulated mythology of "thefloating city." John Barker's Wagner and Venice Fictionalized: Variations on a Theme will be of interest to all lovers of opera, Venice, and European culture generally. John W. Barker is Emeritus Professor of History at the University of Wisconsin-Madison, specializing in medieval (including Venetian) history. He is also a passionate music lover and record collector, and an active music critic and journalist.

"In that it removes the question mark from the end of one's life, this book is a great comfort to the aging and those who contemplate death. Yet, it is most important to the young and those who contemplate life." Howard Jason Smith, Boston Globe. Lucien Gregoire, friend-biographer of Albino Luciani, has written books on the evolution of world religions in a simple and enlightening way so that a child can easily understand them. This is one of them. In 1947, Albino Luciani--the 33-day pope John Paul I--defended his thesis 'The Origin of the Human Soul...' in which he defined the human soul--just what is it one is trying to save? What's more, he stumbled upon the secret of eternal life. The relatively heavy theological intellectual complexity of Luciani's thesis is presented in a series of fun and entertaining conversations with a ten year old boy. As Dante once took the reader through the levels of hell, the reincarnated Luciani takes the reader through the heavens of the Christian, the Jew, the Muslim, the Hindu, the Buddhist, the Tao, and one more--a long lost religion holding the secret to eternal life. One no longer has to guess. One can know in this life, one will live forever. Listen as he tells you what he meant, when he told us, "Don't knock yourself out over smart monkeys and Adam and Eve. Each of us is responsible for our own evolution. We can either choose to remain as mortal men, or we can evolve as Gods." Albino Luciani, Gregorian University, doctoral dissertation, Feb '47. "If every teen were to read this book, what a wonderful world we would live in." Dr. Alexis Bishop, London Times.

The first half of the 1970s was an especially fertile period for British progressive rock, laying claim to classics such as Tarkus, Selling England by the Pound, Larks' Tongues in Aspic, The Dark Side of the Moon, and Thick as a Brick. Collectively these and other works represent the best British progressive rock had to offer. Yet, it's Yes's 1972 three-track masterpiece, Close to the Edge, that presents a snapshot of an adventurous rock band at the peak of its powers, daring to push itself musically, both as individuals and as a unit. In this absorbing chronicle, which draws upon dozens of original and archived interviews and features rare photographs and an extensive discography, acclaimed music journalist Will Romano examines why Close to the Edge is the ultimate prog rock album. Yes had previously penned epic tracks for The Yes Album and Fragile, but nothing on the magnitude of the musical gems appearing on Close to the Edge. It's something of a small miracle – perhaps even magic – that the virtuoso quintet crafted such a cohesive and compelling album during an often-hectic recording process that very nearly relegated this monumental work to the dustbin of history. So potent was the power of Close to the Edge that even before its release it had forever shifted the personal dynamics of the group and the course of progressive rock. Rarely had Yes, or any rock outfit for that matter, been simultaneously so expansive and concise, spiritual and savage, profound and nebulous.

Throughout her fiction, Willa Cather mentioned forty-seven operas. References to opera appear in all but three of her twelve novels and in roughly half of her short stories. Despite a dearth of musical education, Cather produced astute writing about the genre beginning in her earliest criticism and continuing throughout her career. She counted opera stars among her close friends, and according to Edith Lewis, her companion throughout adulthood, the two women frequently visited the theater, even in the early days, when purchasing tickets to attend performances proved a financial sacrifice. Melding cultural history with thoughtful readings of her works and discussions of opera’s complex place in turn-of-the-century America, David McKay Powell’s Cather and Opera offers the first book-length study of what drew the writer so powerfully and repeatedly to the art form. With close attention to Cather’s fiction and criticism, Powell posits that at the heart of both her work and the operatic corpus dwells an innate tension between high artistic ideals and popular acceptance, often figured as a clash between compositional integrity and raw, personal emotion. Considering her connection to opera in both historical and intertextual terms, Cather and Opera investigates what operatic references mean in Cather’s writing, along with what the opera represented to her throughout her life.