This book addresses two central questions in current research on the Gospel of Thomas: what was its original language and which early Christian works influenced it? At present, theories of Thomas as ...a Semitic work abound. Simon Gathercole dismantles these approaches, arguing instead that Thomas is Greek literature and that the matter of Thomas's original language is connected with an even more controverted question: that of the relationship between Thomas and the canonical New Testament. Rather than being independent of Matthew, Mark and Luke (as in most Western Aramaic theories of Thomas) or thoroughly dependent on the four gospels (as in most Syriac approaches), Gathercole develops a newly refined approach to how Thomas is influenced by the Synoptic Gospels. Thomas can be seen to refer to Matthew as a gospel writer, and evidence is discussed showing that Thomas incorporates phraseology distinctive to Luke, while also extending that special Lukan language.
Drawing on and piecing together a trove of previously unexamined sources, this book is the first critical study of the renowned African American gospel singer Mahalia Jackson (1911–1972). Beginning ...with the history of Jackson’s family on a remote cotton plantation in the Central Louisiana parish of Pointe Coupée, the book follows their relocation to New Orleans, where Jackson was born, and Jackson’s own migration to Chicago during the Great Depression. The principal focus is her career in the decade following World War II, during which Jackson, building upon the groundwork of seminal Chicago gospel pioneers and the influential National Baptist Convention, earned a reputation as a dynamic church singer. Eventually, Jackson achieved unprecedented mass-mediated celebrity, breaking through in the late 1940s as an internationally recognized recording artist for Apollo and Columbia Records who also starred in her own radio and television programs. But the book is also a study of the black gospel field of which Jackson was a part. Over the course of the 1940s and 1950s, black gospel singing, both as musical worship and as pop-cultural spectacle, grew exponentially, with expanded visibility, commercial clout, and forms of prestige. Methodologically informed by a Bourdiean field analysis approach that develops a more granular, dynamic, and encompassing picture of post-war black gospel, the book persistently considers Jackson, however exceptional she may have been, in relation to her fellow gospel artists, raising fresh questions about Jackson, gospel music, and the reception of black vernacular culture.
Mek Some Noise Rommen, Timothy
03/2007, Letnik:
11
eBook
"Mek Some Noise", Timothy Rommen's ethnographic study of Trinidadian gospel music, engages the multiple musical styles circulating in the nation's Full Gospel community and illustrates the carefully ...negotiated and contested spaces that they occupy in relationship to questions of identity. By exploring gospelypso, jamoo ("Jehovah's music"), gospel dancehall, and North American gospel music, along with the discourses that surround performances in these styles, he illustrates the extent to which value, meaning, and appropriateness are continually circumscribed and reinterpreted in the process of coming to terms with what it looks and sounds like to be a Full Gospel believer in Trinidad. The local, regional, and transnational implications of these musical styles, moreover, are read in relationship to their impact on belief (and vice versa), revealing the particularly nuanced poetics of conviction that drive both apologists and detractors of these styles. Rommen sets his investigation against a concisely drawn, richly historical narrative and introduces a theoretical approach which he calls the "ethics of style"-a model that privileges the convictions embedded in this context and that emphasizes their role in shaping the terms upon which identity is continually being constructed in Trinidad. The result is an extended meditation on the convictions that lie behind the creation and reception of style in Full Gospel Trinidad.Copub: Center for Black Music Research
This book uncovers an early collection of sayings, called N, that are ascribed to Jesus and are similar to those found in the Gospel of Thomas and in Q, a document believed to be a common source, ...with Mark, for Matthew and Luke. In the process, the book sheds light on the literary methods of Mark and Thomas. A literary comparison of the texts of the sayings of Jesus that appear in both Mark and Thomas shows that each adapted an earlier collection for his own purpose. Neither Mark nor Thomas consistently gives the original or earliest form of the shared sayings; hence, Horman states, each used and adapted an earlier source. Close verbal parallels between the versions in Mark and Thomas show that the source was written in Greek. Horman's conclusion is that this common source is N. This proposal is new, and has implications for life of Jesus research. Previous research on sayings attributed to Jesus has treated Thomas in one of two ways: either as an independent stream of Jesus sayings written without knowledge of the New Testament Gospels and or as a later piece of pseudo-Scripture that uses the New Testament as source. This book rejects both views.
The Encyclopedia of American Gospel Music is the first comprehensive reference to cover this important American musical form. Coverage includes all aspects of both African-American and white gospel ...from history and performers to recording techniques and styles as well as the influence of gospel on different musical genres and cultural trends.
Volume 1 of Nothing but Love in God’s Water traced the music of protest spirituals from the Civil War to the American labor movement of the 1930s and 1940s, and on through the Montgomery bus ...boycott. This second volume continues the journey, chronicling the role this music played in energizing and sustaining those most heavily involved in the civil rights movement.
Robert Darden, former gospel music editor for Billboard magazine and the founder of the Black Gospel Music Restoration Project at Baylor University, brings this vivid, vital story to life. He explains why black sacred music helped foster community within the civil rights movement and attract new adherents; shows how Martin Luther King Jr. and other leaders used music to underscore and support their message; and reveals how the songs themselves traveled and changed as the fight for freedom for African Americans continued. Darden makes an unassailable case for the importance of black sacred music not only to the civil rights era but also to present-day struggles in and beyond the United States.
Taking us from the Deep South to Chicago and on to the nation’s capital, Darden’s grittily detailed, lively telling is peppered throughout with the words of those who were there, famous and forgotten alike: activists such as Rep. John Lewis, the Reverend Ralph Abernathy, and Willie Bolden, as well as musical virtuosos such as Harry Belafonte, Duke Ellington, and The Mighty Wonders. Expertly assembled from published and unpublished writing, oral histories, and rare recordings, this is the history of the soundtrack that fueled the long march toward freedom and equality for the black community in the United States and that continues to inspire and uplift people all over the world.
This commentary is opened by a study offering information about all aspects of the Gospel of Thomas, especially about its relation to other texts of early Christian literature, including the ...canonical Gospels. The successive commentary is based upon the Coptic version and discusses also all fragments of the original Greek text. The volume is divided into two parts: The first discusses the function of each logion (saying) within the frame of piety and theology of the Thomasine group, for which the Gospel is composed; The second part discusses its literary shape and its history, including its relation to the historical Jesus. The result is a portrait of the Gospel as a radical interpretation of Jesus' heritage, still preserving some forgotten features of his teaching.
In A City Called Heaven , gospel announcer and music historian Robert Marovich shines a light on the humble origins of a majestic genre and its indispensable bond to the city where it found its ...voice: Chicago. Marovich follows gospel music from early hymns and camp meetings through the Great Migration that brought it to Chicago. In time, the music grew into the sanctified soundtrack of the city's mainline black Protestant churches. In addition to drawing on print media and ephemera, Marovich mines hours of interviews with nearly fifty artists, ministers, and historians--as well as discussions with relatives and friends of past gospel pioneers--to recover many forgotten singers, musicians, songwriters, and industry leaders. He also examines how a lack of economic opportunity bred an entrepreneurial spirit that fueled gospel music's rise to popularity and opened a gate to social mobility for a number of its practitioners. As Marovich shows, gospel music expressed a yearning for freedom from earthly pains, racial prejudice, and life's hardships. In the end, it proved to be a sound too mighty and too joyous for even church walls to hold.
