My book the image of God and the perfect man does not consist of only one perfect man or woman, but it comprises a society of people a city of people who is set on a hill and cannot be hidden. A nation a state, a city whose builder and maker is God. Where holiness unto the Lord is.The image of God and the perfect man is also relating to a free society, where there is no dictatorship of sin mastering or controlling your life, a nation of people who believes that all things are possible through Jesus Christ who strengthens them. A society of people who believes in overcoming sin while yet living in this present world. After you have received the power of the holy ghost in your life. If you can recall John the baptist is the one who said behold the lamb of God which taketh away the sin of the world. Now if Christ have taken away the sin of the world, than why are we still continuing therein. He has taken away the very nature of sin because he intended for us to live in a world that is free from sin. So that you and I can be happy. It is sin that causes us to be unhappy and dissatisfied with ourselves and with others. It does not matter how much money we have, or how many Grammys you have won, without Jesus Christ in your life, you will never reach the full potential of true happiness. The image of God and the perfect man is a nation of people within a nation. The nation of Jesus Christ. Where you shall know the truth and the truth shall make you free.
This is a biblical study that is geared towards pointing people back to the original purpose God had for creating mankind. In addition to this being a study for individuals, this book can be used as a devotional for couples to complete at home or in a small group. There are seven sections to this study, with each section containing scripturally based reading assignments and discussion questions.
This book also comes with free videos for each chapter and topic that go beyond the written material. To access the free videos simply access the video links provided in each section.
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A musical phrase, or, for that matter, a musical unit of any size or shape, becomes an image whenever we imagine it to be invested with a content whose origins lie outside music. Such a content, according to the theory developed here, constitutes the image's conventional significance; it accounts for whatever strikes us about the image as having a common and familiar ring. That being so, the origins in question must be coincident with the fundamental ideas--the archetypes--that have been traditionally represented as underlying and unifying Western culture. As the theoretical constructs they are, arehctypes are never encountered directly. It is in the form of their local variants that we make contact with the archetypes, and it is at this local level that the present book sets its sights: style, the typical or shared element in the musical imagery of a time and place, is studies as a function of Zeitgeist, the complex of beliefs, values, and ideals of a community. The approach is both thematic and historical, in keeping with a key objective of archetypal criticism. Far from repudiating the popular notion that music expresses the human emotions, this study attempts to recast emotion theory by examining musical images for kinds of behavior from which we may infer not only emotion (pathos, effectus) but also personality (ethos). Ethical and affective distinctions are very sharply drawn, in an effort to clarify and widen the vocabulary of musical commentary, as well as to provide cultural and historical backing for contents long considered the cliches of musical expression.
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