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Matthew 1-13

為了解決Background character的問題，作者Wilson, Walter T. 這樣論述：

What was the original purpose of the Gospel of Matthew? For whom was it written? In this magisterial two-volume commentary, Walter Wilson interprets Matthew as a catechetical work that expresses the ideological and institutional concerns of a faction of disaffected Jewish followers of Jesus in th

e late first century CE. Wilson’s compelling thesis frames Matthew’s Gospel as not only a continuation of the biblical story but also as a didactic narrative intended to shape the commitments and identity of a particular group that saw itself as a beleaguered, dissident minority. Thus, the text clar

ifies Jesus’s essential Jewish character as the ＂Son of David＂ while also portraying him in opposition to prominent religious leaders of his day--most notably the Pharisees--and open to cordial association with non-Jews. Through meticulous engagement with the Greek text of the Gospel, as well as rel

evant primary sources and secondary literature, Wilson offers a wealth of insight into the first book of the New Testament. After an introduction exploring the background of the text, its genre and literary features, and its theological orientation, Wilson explicates each passage of the Gospel with

thorough commentary on the intended message to first-century readers about topics like morality, liturgy, mission, group discipline, and eschatology. Scholars, students, pastors, and all readers interested in what makes the Gospel of Matthew distinctive among the Synoptics will appreciate and benefi

t from Wilson’s deep contextualization of the text, informed by his years of studying the New Testament and Christian origins.

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布拉姆斯《大學慶典序曲》與《悲劇序曲》之探究與指揮詮釋

為了解決Background character的問題，作者郭愛丹 這樣論述：

德國浪漫樂派作曲家布拉姆斯（Johannes Brahms, 1833-1879），與巴赫 （Johann Sebastian Bach, 1685-1750）、貝多芬（Ludwig van Beethoven, 1770-1827）被德國音樂家畢羅（Hans von Bülow, 1830-1894）譽為 「德國三B」。布拉姆斯作品常運用古典樂派嚴謹莊重的音樂形式，融入浪漫樂派寬廣且極富情感的旋律色彩，以及大量「對位」、「模進」、「發展變奏」等創作手法，呈現深沈繁厚的音響織度。作品中高度連貫性、豐富厚重音響效果、具民謠風格旋律特徵等，展現出布拉姆斯除了「具保守樂派的古典主義者」，還融匯古典

與浪漫之精髓，進而走出屬於他個人獨特的風格。布拉姆斯創作涵蓋鋼琴曲、交響曲、室內樂及藝術歌曲等，而管弦樂序曲終其一生僅完成兩部：《大學慶典序曲》（Academic Festival Overture）和《悲劇序曲》（Tragic Overture）。這兩首作品皆為同一年完成，音樂情感性質卻截然不同。《大學慶典序曲》主要運用當時德國學生數首校園歌曲為題材彙編而成，描繪莘莘學子朝氣蓬勃的青春活力；《悲劇序曲》採用悲劇性格強烈的d小調，使用嚴謹奏鳴曲式結構創作。本論文共分為五章。第一章為研究目的、範圍及方法之撰寫；第二章概述作曲家生平、時代風格與序曲概論；第三章與第四章分別論述《大學慶典序曲》及《悲

劇序曲》創作背景、樂曲分析、指揮詮釋及有聲資料之速度與音色探討；第五章為結論。藉由兩部管弦樂作品探討與研究、樂團演練實踐等，深入剖析作曲家傳遞的音樂言語，達到作品真實且完整的詮釋。

Drink Like a Local London: A Field Guide to London’s Best Bars

為了解決Background character的問題，作者Schrieberg, Felipe 這樣論述：

Discover the hidden gems that embody the spirit of London with this go-to guide to the best signature cocktails in town.Explore the most popular hotspots, tube stops, and drinks that London has to offer. From classy rooftop bars to eccentric, hidden watering holes, take a tour through London’s diver

se cocktail scene with this guide. Discover the unique character of each location and the signature recipes from these venues. You will feel like you’re really there long before you order your first drink. Inside you’ll find: - 50 bar profiles and bartender highlights - Beautifully illustrated page

s that showcase the heart of each location - Background on the bustling history of the London bar scene Never be without a drink with recipes from timeless locations and profiles on some of the best bartenders you’ve never heard of. Bring London’s charm to your home bar anywhere in the world. You’l

l find yourself right at home with Drink Like a Local London.

The State of Indonesian Horror Cinema Throughout the Decade, from Early 2000s to Early 2010s

為了解決Background character的問題，作者張偉傑 這樣論述：

Horror films in Indonesia were considered bad b-grade horror films by the Indonesian community itself. The reason was because of the female exploitation in Indonesian horror films. In recent years, Indonesian horror films have seen a change in quality which focusses more on the u

rban legend horror and strays away from exploiting women. The aims of this research were to study the opinions of Indonesian youth general audience and film critic on the subject as well as the differences between them. Data were collected using in-depth focus group i

nterview on both group of participants. The data analysis was done using open, axial, and selective coding process. Results show that both audiences and expert recognize an improvement in Indonesian horror cinema because of a select few outstanding films, but emphasize that there are stil

l a lot of Indonesian horror films that aren’t the same quality as those select few.