[V364.Ebook] Ebook Free Conversations with Stalin, by Milovan Djilas

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A memoir by the former vice president of Yugoslavia describing three visits to Moscow and his encounters there with Stalin. Index. Translated by Michael B. Petrovich.

• Sales Rank: #812683 in Books
• Published on: 1963-09-25
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .58" w x 5.25" l, .55 pounds
• Binding: Paperback
• 210 pages

Features

• ISBN13: 9780156225915
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

About the Author
Milovan Djilas (1911-1995), dissident Yugoslav Communist leader and writer, born in Polja, Montenegro. He studied law at the University of Belgrade, where he embraced Marxism, and was subsequently imprisoned for political activities. He became a good friend of Tito and by 1940 was a member of the Politburo of the Yugoslav Communist Party. Fighting with Tito's partisans during World War II, he held numerous high posts in the postwar government and was a leading supporter of Tito's break with the USSR in 1948. By 1953 he was vice president under Tito and widely believed to be his chosen successor. Djilas's criticism of Communist rule, however, led to his loss of all positions and his expulsion from the party in 1954. He was imprisoned in 1956. Upon publication in the West of his The New Class (1957), an expos� of the Communist hierarchy, his sentence was extended. His Conversations with Stalin (1962) cost him another four years in jail. Finally released in 1966, he continued to write and publish. Among his other books are Land Without Justice (1958), and Rise and Fall (1983; trans. 1985), an account of his own government career. The New Class was published in Yugoslavia in 1990.

Most helpful customer reviews

60 of 60 people found the following review helpful.
A Yugoslav Socialist Meets Stalin and Loses His Faith
By Richard R
Milovan Djilas was one of four senior members of Tito's government until his expulsion from the Yugoslav Communist party in 1954 and eventual imprisonment on political charges. He wrote "Conversations With Stalin" in 1961, between arrests. The book is a diary of Djilas' three voyages to Moscow in 1943, 44, and 48. Djilas, his memories no doubt leavened by hindsight, titles the three meetings "Raptures", "Doubts", and "Disappointments", and as these names indicate, the book chronicles his growing disillusionment with Soviet-led socialism.
Djilas was an educated man, a sophisticated thinker and a writer. So that when we read passages in the "Raptures" section such as, "My entire being quivered from the joyous anticipation of an imminent encounter with the Soviet Union", it seems clear that he was not the na�f that he makes himself out to be. Rather, given his circumstances at the time that he was writing, he was heightening the sense of his early fascination with all things Soviet so that his later disenchantment is all the more palpable.
The book fascinates with its detail. Djilas travels to Moscow as a foreign dignitary to discuss Yugoslav-Soviet policies. He must cool his heels for days before he is finally summoned to meet Stalin, and then the meetings are typically all night dinners with copious drinking and byzantine political subtext to the conversation. Stalin dominates the discussion so thoroughly that when he insists that the Netherlands was not a member of the Benelux union, nobody dares correct him. Djilas recognizes traits of greatness in Stalin, his ruthlessness and far-sightedness. He describes these not out of regard or respect, but because they are precisely the qualities which make Stalin evil. "Every crime was possible to Stalin, for there was not one he had not committed."
As doubts begin to creep in for Djilas, he records the development of his own cynicism. "In politics, more than in anything else, the beginning of everything lies in moral indignation and in doubt of the good intentions of others". His portraits of Krushchev, open-minded and clever; of Molotov, Stalin's taciturn lieutenant; Dimitrov, the powerful Bulgarian kept on Stalin's string; Beria, sinister and drunk; and a host of other prominent figures make this book required reading for those interested in the era. The descriptions of machinations surrounding Yugoslav-Albanian-Bulgarian politics and his unflattering characterization of Croatian hero Andrija Hebrang are of great interest to students of Balkan history.

13 of 15 people found the following review helpful.
From idealogy to reality
By Glen Engel Cox
Although I read this as a requirement for one of my classes this semester (East Europe Since 1918), I found it genuinely interesting, enough that I began and finished it in the same day. Djilas was one of the top communists of Yugoslavia, and was part of the first communist foreign missions to the Soviet Union. His book treads from the opening euphoria of the promise of socialism and its new expression, including the near-worship of its manifest leader, Stalin. Then doubts begin to creep in as he is horrified by the actions of the Red Army in his homeland and the relationship that the Soviets--communist comrades--wish to compel upon the Yugoslavs. Quickly this moves to deep disappointment as he realizes that for all their propaganda, the Soviets are truly just a different embodiment of Imperialistic Russia and that the more things have changed, the more they have actually remained the same. His personal insights into the character of the Soviet leaders lend this book a feeling of pathos that goes far beyond its historicity. Here, Stalin is seen as the man that he was, and his monstrosity is only magnified under that understanding.

5 of 5 people found the following review helpful.
An idealist becomes pragmatic.
By Kevin M Quigg
What happens when a young idealist has to deal with the Soviet system in his relations as a foreign representative. Djilas was a Yugoslav guerrilla who was chosen as a representative to the Soviet Union. In this series of meetings over a period of six years, his idealism is washed away and he becomes more pragmatic on the Communist system. Not only does he see Stalin for what he is, but he becomes cynical of the whole system.

This is an interesting and quick read. One understands why Yugoslavia broke away from the Soviet orbit. It also shows Yugoslavia wanting to make Albania a part of its country. We now know what that would have caused. This shows an interesting perspective on the different perspectives each East European Communist government had. This book is slighty dated.

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[B710.Ebook] PDF Download Handbook of Bird Biology (Cornell Lab of Ornithology)From Wiley-Blackwell

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Selected by Forbes.com as one of the 12 best books about birds and birding in 2016

This much-anticipated third edition of the Handbook of Bird Biology is an essential and comprehensive resource for everyone interested in learning more about birds, from casual bird watchers to formal students of ornithology. Wherever you study birds your enjoyment will be enhanced by a better understanding of the incredible diversity of avian lifestyles. Arising from the renowned Cornell Lab of Ornithology and authored by a team of experts from around the world, the Handbook covers all aspects of avian diversity, behaviour, ecology, evolution, physiology, and conservation. Using examples drawn from birds found in every corner of the globe, it explores and distills the many scientific discoveries that have made birds one of our best known - and best loved - parts of the natural world.

This edition has been completely revised and is presented with more than 800 full color images. It provides readers with a tool for life-long learning about birds and is suitable for bird watchers and ornithology students, as well as for ecologists, conservationists, and resource managers who work with birds.

The Handbook of Bird Biology is the companion volume to the Cornell Lab’s renowned distance learning course, Ornithology: Comprehensive Bird Biology.

• Sales Rank: #45175 in Books
• Published on: 2016-09-19
• Original language: English
• Number of items: 1
• Dimensions: 10.80" h x 1.70" w x 8.40" l, .0 pounds
• Binding: Hardcover
• 730 pages

Review
"This wonderful handbook provides a crystal-clear introduction to every fascinating aspect of bird biology. It will now be my own first reference source about birds, and it should be yours, too - regardless of whether you are a backyard bird watcher, a hard-core birder, or a professional ornithologist."

Jared Diamond, Professor of Geography at the University of California-Los Angeles, specialist on New Guinea birds, and Pulitzer-Prize winning author.

"This new edition of the Cornell Lab of Ornithology's Handbook of Bird Biology is a stunning resource for professionals and amateurs alike. It is graced by color photos spilling off nearly every page and filled with clear yet detailed interpretations of the latest ornithological discoveries. One can't achieve a better mix of technical accuracy and a pleasing, accessible format. It's all here - bird evolution, ecology, physiology, conservation, and much more."

Scott V. Edwards, Alexander Agassiz Professor of Zoology and Curator of Ornithology at Harvard University.

From the Back Cover

THE CORNELL LAB OF ORNITHOLOGY

HANDBOOK OF BIRD BIOLOGY

Irby J. Lovette and John W. Fitzpatrick, Cornell Lab of Ornithology, Cornell University, USA

“ This wonderful handbook provides a crystal-clear introduction to every fascinating aspect of bird biology. It will now be my own first reference source about birds, and it should be yours, too — regardless of whether you are a backyard bird watcher, a hard-core birder, or a professional ornithologist.”

Jared Diamond, Professor of Geography at the University of California-Los Angeles, specialist on New Guinea birds, and Pulitzer-Prize winning author

“ This new edition of the Cornell Lab of Ornithology’s Handbook of Bird Biology is a stunning resource for professionals and amateurs alike. It is graced by color photos spilling off nearly every page and filled with clear yet detailed interpretations of the latest ornithological discoveries. One can’t achieve a better mix of technical accuracy and a pleasing, accessible format. It’s all here — bird evolution, ecology, physiology, conservation, and much more.”

Scott V. Edwards, Alexander Agassiz Professor of Zoology and Curator of Ornithology at Harvard University

Birds thrive in all conditions, from urban neighborhoods to the remotest oceans, the driest deserts, and the wettest rainforests. From the tiniest hummingbird to the largest ostrich, their varied forms fascinate us — from drab to ostentatious, silent to raucous, earthbound to global nomad. This much-anticipated third edition of the Handbook of Bird Biology is an essential and comprehensive resource for everyone interested in learning more about birds, from casual bird watchers to formal students of ornithology. Wherever you study birds, your enjoyment will be enhanced by a better understanding of the incredible diversity of avian lifestyles. Arising from the renowned Cornell Lab of Ornithology and written by a team of experts from around the world, the handbook covers all aspects of avian diversity, behavior, ecology, evolution, physiology, and conservation. Using examples drawn from birds found in every corner of the globe, it explores and distills the many scientific discoveries that have made birds one of our best known — and best loved — features of the natural world.

This edition has been completely revised and is presented with more than 800 full-color images. It provides readers with a tool for life-long learning about birds and is suitable for bird watchers and ornithology students, as well as for ecologists, conservationists, and resource managers who work with birds.

For additional resources please visit

birdbiology.org

www.wiley.com

About the Author

Irby Lovette is the Fuller Professor of Ornithology at Cornell University, Associate Director for Academic Affairs at the Cornell Lab of Ornithology, Director of the Lab's Fuller Evolutionary Biology Program, and Curator of Genomics at the Cornell Museum of Vertebrates. He has authored more than 130 scientific publications on topics related to avian evolution, ecology, behavior, and conservation, along with numerous articles for the general public.

John Fitzpatrick is the Louis Agassiz Fuertes Director of the Cornell Lab of Ornithology and Professor in Cornell's Department of Ecology and Evolutionary Biology. His many contributions to ornithology and bird conservation include 140 scientific publications, discovery of seven previously unknown bird species in Peru, 45 years leading one of the world’s longest continuous studies of the ecology and behavior of a wild bird population, the Florida Scrub-Jay, and service on numerous conservation boards and panels. He is past president of the American Ornithologists’ Union and the recipient of that society’s highest awards for research (William Brewster Medal), conservation (Ralph W. Schreiber Award), and service (Marion Jenkinson Award).

Most helpful customer reviews

14 of 14 people found the following review helpful.
... Handbook of Bird Biology and thought it was an excellent reference, but this newer edition is just even ...
By P. J. Owens
I have the 2nd edition of the Handbook of Bird Biology and thought it was an excellent reference, but this newer edition is just even more spectacular! The additional support found on the book's dedicated site just strengthens this books ability to really share insightful information for those of us who want to know a bit more than to know what all of the birds are! I'm also very excited to hopefully start taking the online class from Cornell that goes along with this book.

8 of 8 people found the following review helpful.
Everything you might want to know about birds, with beautiful illustrations
By WoodChuck
I got this for a friend who loves birds, but when it came in the mail I decided to keep it for myself instead. I love the way it explains how birds do all of the amazing things that they do, all with beautiful photographs and illustrations. This is not a book to read cover-to-cover, but whenever I look something up here I find myself reading more and more, usually far beyond my original question. It seems to me like a book written by real experts, but for people like me who just have a general interest in birds. I wish I could go back decades and become a college student to use this book in a class.

4 of 4 people found the following review helpful.
Stunning way to learn about birds
By mary class
Though I'm not an ornithologist, I'm fascinated by the depth and clarity of this comprehensive textbook. It is beautifully illustrated with full color photos, drawings and graphs. The organization takes the reader on a step by step exploration of every aspect of bird biology in all parts of our world.

See all 20 customer reviews...

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[L429.Ebook] Ebook Free Art and the Bible (IVP Classics), by Francis A. Schaeffer

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"The lordship of Christ should include an interest in the arts," writes Francis Schaeffer. "A Christian should use these arts to the glory of God, not just as tracts, mind you, but as things of beauty to the praise of God." Many Christians, wary of creating graven images, have steered clear of artistic creativity. But the Bible offers a robust affirmation of the arts. The human impulse to create reflects our being created in the image of a creator God. Art and the Bible has been a foundational work for generations of Christians in the arts. In this book's classic essays, Francis Schaeffer first examines the scriptural record of the use of various art forms, and then establishes a Christian perspective on art. With clarity and vigor, Schaeffer explains why "the Christian is the one whose imagination should fly beyond the stars."

• Sales Rank: #34239 in Books
• Brand: InterVarsity Press
• Published on: 2006-12-28
• Original language: English
• Number of items: 1
• Dimensions: 7.00" h x .30" w x 4.25" l, .17 pounds
• Binding: Mass Market Paperback
• 95 pages

Review
"Recommended for those interested in creativity, arts in worship, and art as it relates to biblical history." (Carolyn Egolf, Congregational Libraries Today, January/February 2009)

From the Publisher
Features & Benefits *A new edition of an IVP classic *Written by a respected theologian with a deep interest in the arts *Suggests eleven perspectives within which a Christian view of art can take shape

About the Author
Francis A. Schaeffer founded the L'Abri Fellowship in Switzerland and was the author of many books, including The God Who Is There. Until his death in 1984, he was also a noted speaker with a worldwide ministry. His ministry continues through his books, with over two million copies in print.

In a career that spans 30 years, Michael Card has recorded over 31 albums, authored or co-authored over 24 books, hosted a radio program, and written for a wide range of magazines. An award-winning musician and performing artist, he has penned such favorites as "El Shaddai," "Immanuel" and many other songs. He has branched his ministry beyond music and written numerous books, including A Sacred Sorrow, A Violent Grace, The Parable of Joy and Sleep Sound in Jesus (a children's book). He has also written the Biblical Imagination Series, with a book and accompanying music CD for each of the four gospels. A graduate of Western Kentucky University with a bachelor's and master's degree in biblical studies, Card also serves as mentor to many younger artists and musicians, teaching courses on the creative process and calling the Christian recording industry into deeper discipleship. Card lives in Tennessee with his wife and four children.

Most helpful customer reviews

4 of 4 people found the following review helpful.
Art and the Bible: A must read for anyone interested in the arts
By Robert Pruitt
Francis Schaeffer's book Art and the Bible is a classic when it comes to developing a Biblical theology of the arts or in thinking about theology and the arts Christianly. Almost every book about the arts or theology in the arts, from a Christian worldview that has come out since this book was first published in 1973, references Schaeffer's Art and the Bible. The book began as two separate essays, the first essay is Art and the Bible and the second is Some Perspectives on Art. These separate essays were combined and published as the comprehensive and concise book Art and the Bible.

In this thought provoking and essential work advocating for the arts, Schaeffer outlines a sound Biblical apologetic for the arts. Schaeffer addresses all types of art from architecture, to statuary, bas-relief, poetry, painting, music, drama and dance, to the art of Heaven itself. The Biblical support of art of all kinds is presented clearly by Schaeffer who walks the reader carefully and thoroughly through important supportive passages in both the Old and New Testaments.

In the book's foreword, by Michael Card, added in the revised 2006 edition, Card says, "this book, a primer on Biblical creativity, [seeks] to drum into us the idea that we create out of our worldview and that it is our responsibility to align that point of view with scripture before we continue on." Card rightly highlights one of Schaeffer's main points that the artist should "take seriously the Lordship of Christ in every aspect of their creative lives."

25 of 25 people found the following review helpful.
Essential for Christians & non-Christians on impact of art
By A Customer
This book, a collection of two essays about art and its relationship to Christianity and Christian philosophy is fascinating.
First, one major positive is Schaeffer's calling for the Christian to apply several criteria to art and the evaluation of it. He strongly discourages a purely "romantic" interepretation of art (meaning just how it makes you "feel.") He implores the Christian (and the non-Christian for that matter) to make full use of both intellect and emotion (as well as a host of other criteria.)
The first essay concentrates on what the Bible actually has to say about art. The second essay concentrates on the physical creation of art, intention of art, impact, and several other dimensions of this many-sided subject. It touches on some basic principals of philosophy of art as well as the Christian world view. Also, of extreme importance is the subsection on art within its cultural context.
My only complaint is the short length of the book. Schaeffer occasionally didn't fully explore an idea. I know an exhaustive treatise could never be devised, but this is a lot of subject matter to tackle in a 63 page book. On the other hand though, this concise pamphlet will get his ultimate points across and is accessible to those who don't have philosophy or art history degrees.
This book is a welcome addition to both art criticism and the Christian perspective on art.

5 of 5 people found the following review helpful.
A Good Primer
By A. Langley
Art and the Bible was published in 1973 by Francis Schaeffer and his L'Abri Fellowship as an inquiry into the place of the arts in the Bible and the Christian life. It is now marked as one of the foundational works in the theology of the arts, particularly because of its efforts in developing a specifically biblical theology from an evangelical perspective. The book consists of two essays: the first focusing on what the scriptures say about art; the second elaborating upon a picture of the arts for Christianity.

In the first essay, Schaeffer examines the role of the arts as portrayed in the scriptures, and this primarily in the Old Testament. A common foundation can be seen among those who think and write in the field of theology and the arts, and that is a holistic understanding of creation and humanity in which there stands no true antagonism between the spiritual and the physical, and this thought is what begins Schaeffer's first essay. He arrives at this holistic perspective from the Biblical teaching that God is sovereign over all creation, and he points to four important points he says that the Bible "makes clear", namely:
* God made the whole man
* In Christ the whole man is redeemed
* Christ is the Lord of the whole man now and the Lord of the whole Christian life
* In the future as Christ comes back, the body will be raised from the dead and the whole man will have a whole redemption. (7-8)

The implication drawn from this is that since God is Lord over the whole of man and creation, he is Lord over the creative arts as well.

From this point Schaeffer moves to a discussion on art having to do with worship, and he begins this with one of the most common objections against Christian involvement in the arts: "Thou shalt not make unto thee any graven image" (Ex 20:4-5). He explains that if this is properly interpreted, it can be seen as not a restriction against graven images per se, but against the worship of them. This is evinced in the fact that at the same time God gave the ten commandments, he also gave the instructions for building the tabernacle; in these instructions were included "almost every form of representational art that men have ever known," Schaeffer says. (12). Among these forms of representational art were blue pomegranates. Schaeffer points to this as an indication that God enjoys art that is not necessarily "photographic," but there is freedom for the imagination to expand upon the "real."

From the tabernacle, Schaeffer moves to a discussion on the artistic nature of the temple. The design of the temple that the Spirit of the Lord handed David (1 Chron. 28:11-12) we see full of non-utilitarian art. In 2 Chron. 3:6, for example, Solomon "garnished the house with precious stones for beauty." From this, Schaeffer rightly concludes that "God is interested in beauty" (15). Also he importantly notes that we see more than specifically religious subject material used in worship-related art, which means that "specifically religious subjects are not necessary for art" (19).

Next, Schaeffer considers the "secular art" of Solomon's day. This secular art of which he speaks is Solomon's throne, described in (1 Kings 10:18-20). However, it seems questionable whether or not Solomon's throne would be considered "secular." As Israel was a theocracy, it seems as though it would be difficult to make such a distinction between "secular" and "religious" art. What would seem to be more appropriate would be to look at the arts in the other cultures surrounding Israel at that time, which he does not do.

In his discussion poetry, Schaeffer, using an example from the Septuagint of David singing, shows that art does not have to be put into the temple in order for it to give praise to God. He also points to the Song of Solomon as an example of secular art that has been inspired, in a way, by God.

From poetry, Schaeffer shows that drama and dance too is not only allowed but are used and encouraged in the Bible. Ezekiel plays out a drama as a prophesy, and David danced victoriously in his ephod. Schaeffer does right to point out that simply because someone does something in the Bible does not mean that it is prescriptive. Finally, pointing to the music and song in Revelation 15:2-3, Schaeffer shows that God has a plan for the arts even in the afterlife. Schaeffer's work in providing these examples of the arts from the Bible is an invaluable tool with which to counter the attitudes that express some contempt for the arts. However, because virtually all of the examples are taken from the Old Testament, it might loose weight to a reader who interprets the New Testament as being a switch from the physical to the spiritual.

In his second essay entitled "Some Perspectives in Art", Schaeffer enumerates eleven perspectives from which a Christian can view art. He begins with what he says is the most important point for Christians to consider, namely that a work of art has intrinsic value. Schaeffer says that it is "not something we merely analyze or value for its intellectual content. It is something to be enjoyed" (34). It has this value because it is a creative work, and creative work has value because it is a product of our being made in the image of God. While Schaeffer is on the right track with these thoughts, he seems to be a bit myopic in his understanding of art. It is true that art is not simply to be analyzed for its intellectual content, however that is at least part of what we do with art. He seems to acknowledge this later by chiding the "art for art's sake" perspective. He goes on to say that art is something to be "enjoyed" in and of itself, yet he seems to forget that some art is not "enjoyed," especially art that is prophetic in nature. In his first essay he pointed to Ezekiel performing the prophetic "drama" for Israel, and Schaeffer affirmed this as art. Yet was Ezekiel's drama "enjoyed" in and of itself apart from its intellectual content? The point of prophetic art is not to be "enjoyed," but on the contrary, to be disruptive to a people's status quo.

Next, Schaeffer touches on the interesting notion that "the effect of any proposition, whether true or false, can be heightened if it is expressed in poetry or in artistic prose rather than in bald, formulaic statement" (38-39). This is a point well made, and an important one to consider, though it is unfortunate he did not spend more time elaborating upon this.

His third point addresses the continuity or discontinuity with normal definitions in a work of art. He applies this not only to the use of words (in poetry and prose), but in the visual language of symbols as well. He suggests that there must, for greatest effect, be not too great a discontinuity. Innovation is good, but when one diverges too far from the norm (such as in total abstract painting), something is lost in the piece of art.

Fourth, he states that simply because something is "art" does not mean that it is "sacred." This he ties into his second point, that the propositions contained in a piece of art can be false.

Schaeffer next moves to the four criteria by which he believes art should be judged. First, art should be judged by its technical execution. If art is done with technical excellence, Schaeffer says that the artist should be praised even if he differs in worldview. This is a particularly challenging and needed statement since many Christians reject art completely if it differs even slightly from their version of Christian truth. Next, art should be judged by its validity: whether or not the artist has been honest to himself in the creation of his art. At this point Schaeffer criticizes any art that is created for financial reason, labeling it "invalid." This is, however, an invalid criticism because of its myopic idea of what the creative mind is and what its parameters are. For example, if this criteria were applied to the art of filmmaking there would be few--if any at all--that meet it. Film is a corporate art, an art that involves more than one mind, and thus involves individual creative ideals bending to one another in cooperation and, often, compromise. Likewise, the sheer amount of financial resources that are required to produce a film entail a kind sensitivity to those who will watch it. Rather than automatically labeling any art "invalid" that is done for a patron, the art should be judged by how "valid" it is within its parameters (e.g., the patron's wishes, the public's interest, etc.). The third criteria Schaeffer says art should be judge by is whether or not the worldview it espouses is consistent with the scripture, and this he says can actually be accomplished by the non-Christian, and can sometimes not be accomplished by the Christian. The last criteria is how well the content of the art matches its form. The example he uses for this is T.S. Eliot's The Wasteland: in it the broken nature of the message was reflected in the broken form in which it was written.

Regarding style, Schaeffer says that it changes as language changes, but that the Christian should have these three elements in his style: it should be the style of his day, it should be indigenous to where he is geographically, and it should reflect the Christian worldview. In his next point, he asserts that while there is no "godly" or "ungodly" style, some styles become symbolic of a certain message, and thus styles must not be used unthinkingly.

Schaeffer then suggests that Christian art has a place for both major and minor themes--minor themes that uncover the lostness and brokenness of man, major themes that offer a positive perspective in light of redemption--but the emphasis should be on the major themes. He does make room for individual pieces of art to show only minor themes, but he says that the full body of the artists work should reflect the major. He does well to leave room for exceptions in this, because it should also be considered that the many artists in the Christian community are members of one body; perhaps it is one person's job to focus on minor, and the other person's to focus on redemption.

What makes this pamphlet particularly unique is its depth of focus on what the scriptures say about the arts, but his second essay on Christian perspectives is also helpful in that it attempts to apply more specifically what we find about art in the Bible. In total, Schaeffer's Art and the Bible can serve as a helpful tool especially for the evangelical who needs an introductory Christian perspective on the arts.

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