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Chapter 8:Layout 15/21/101:19 PMPage 173Jonah the ChristianG r a y d o n F. S n y d e rIf you attend a worship service at any Christian church anywhere in the world, there’s a good chance you’ll see a cross displayed somewhere in a prominent place. Many probably assume the same was true for the first Christians. They might be surprised to discover, however, that the cross does not appear in Christian artwork for around four hundred years. And, they might be surprised to find out that the Jonah story appears far more frequently in earlyChristian art than the cross.So, why was the story of Jonah so important? In early Christian catacomb art no other picture appears as often as that of Jonah.Since no writing reflects what early Christians believed, we accept the art as an indication of what the average believer saw in the story of Jonah. We speak of this as the understanding of local people. For the most part it showed the Christian Jonah absorbed by a pagan society, but then regurgitated into a redeemed Christian existence.See All Chapters
|Lawrence Bennett||Indiana University Press||ePub|
It is difficult to assess the amount of cantata activity in Vienna during the first half of Leopold’s reign, roughly 1658–80. Vast numbers of lost vocal chamber works by Bertali and Sances may have been composed between 1658 and their deaths in 1669 and 1679, respectively.1 The performances of several Cesti cantatas in 1667 tantalizingly suggest that this pivotal composer may have written additional cantatas for Vienna. The cantatas by A. M. Viviani undoubtedly date from this period, as well as perhaps some of those by Draghi, Vismarri, and Cappellini. If so, then these years spawned a rich array of vocal chamber music. A different picture emerges for the second half of Leopold’s reign. Extant sources and available information about occasions, librettists, and performers indicate that, in general, composers employed by the Habsburgs during these years devoted only sporadic attention to the cantata at a time when countless cantatas were being composed in Italy. Several reasons can be advanced to explain why so few were written for Vienna.See All Chapters
|Amy Finley||Hunter Publishing||ePub|
It's a good idea to be familiar with the requirements and vagaries of travel on the Riviera. The following information should be useful.
Visitors from the United States must hold a valid passport. A Visa is not required. If you're interested, the State Department posts travel advisories for every country of the globe. Find them at www.travel.state.gov/travel_warnings.html. In case of emergency or disaster, the US Embassy is located in Rome (tel.06.46.74.1) and there are Consulate offices in Florence (tel.02.29.03.51) and Milan (tel.055.26.69.51).
Since 2002 Italy has been on the euro (currency symbol "euros "), though this doesn't mean that the shops have stopped listing prices both in euros and lire (mostly to accommodate elderly Italians who still fear they're being gypped). In addition, prices for things like museum entrance seem to have been directly translated from lire to euros, resulting in fees like euros 2,07 or euros 6,48. (Note that a comma is used in place of a period when writing out prices in Italian.) Consequently, you're wise to hold on to even your smallest coins: You'll use them in Liguria.See All Chapters
|Jeff Bollinger||O'Reilly Media||ePub|
“Everybody has a plan until they get punched in the face.”
Everything up to this point, the ideas and questions in the first five chapters, has served to prepare you to create a playbook you can deploy. Your playbook should reflect that you’ve asked relevant questions and built a plan and plays that are as unique as your organization and its assets. Your playbook should reflect that you identified what threats to look for, what assets and information you intend to protect, how to lay out the architecture, how to prepare the data, and how to get the logs flowing. That plan is now ready for operationalization! This chapter will explain, by way of example, how to put your plan into action, how to avoid operational problems, and how to keep it running smoothly.
To really make it work, we’ll discuss some key questions throughout the chapter to ready your playbook for real-world security operations. These questions are core to keeping the playbook a living thing:See All Chapters
|Editors at JIST||JIST Publishing||ePub|
The facts and pointers in this book provide a good beginning to the subject of college majors and their related secure jobs. If you want additional details, we suggest you consult some of the resources listed here.
A good source of facts is the College Majors Handbook with Real Career Paths and Payoffs: The Actual Jobs, Earnings, and Trends for Graduates of 60 College Majors, by Neeta P. Fogg, Ph.D., Paul E. Harrington, Ed.D., and Thomas F. Harrington, Ph.D. (JIST).
The College Board’s Web site has information about a large number of college majors at www.collegeboard.com/csearch/majors_careers/profiles.
The Occupational Outlook Handbook (or the OOH) (JIST): Updated every two years by the U.S. Department of Labor, this book provides descriptions for 270 major jobs covering more than 85 percent of the workforce.
The Enhanced Occupational Outlook Handbook (JIST): Includes all descriptions in the OOH plus descriptions of more than 6,300 more-specialized jobs related to them.
The O*NET Dictionary of Occupational Titles (JIST): The only printed source of the 950 jobs described in the U.S. Department of Labor’s Occupational Information Network database. It covers all the jobs in the book you’re now reading, including the recession-sensitive jobs that are not described here, and it offers more topics than we were able to fit here.See All Chapters
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