Cultural differences are everywhere. Understanding these differences is now a basic life skill for all of us, not just for missionaries or world travelers. This book offers a brief, critical overview of Christian ways of thinking about how and why we should relate to other cultures.
Wrongly convicted of murder and punished by being sealed in the tomb with the dead man, seventeen-year-old Selwyn enlists the help of a witch and the resurrected victim to find the true killer.
The key to advancing gender equality? Men. Women are at a disadvantage. At home, they often face an unequal division of household chores and childcare, and in the workplace, they deal with lower pay, lack of credit for their contributions, roadblocks to promotion, sexual harassment, and more. And while organizations are looking to address these issues, too many gender-inclusion initiatives focus on how women themselves should respond, reinforcing the perception that these are "women's issues" and that men—often the most influential stakeholders in an organization—don't need to be involved. Gender-in-the-workplace experts David G. Smith and W. Brad Johnson counter this perception. In this important book, they show that men have a crucial role to play in promoting gender equality at work. Research shows that when men are deliberately engaged in gender-inclusion programs, 96 percent of women in those organizations perceive real progress in gender equality, compared with only 30 percent of women in organizations without strong male engagement. Good Guys is the first practical, research-based guide for how to be a male ally to women in the workplace. Filled with firsthand accounts from both men and women, and tips for getting started, the book shows how men can partner with their female colleagues to advance women's leadership and equality by breaking ingrained gender stereotypes, overcoming unconscious biases, developing and supporting the talented women around them, and creating productive and respectful working relationships with women.
In Teaching and Christian Practices several university professors describe and reflect on their efforts to allow historic Christian practices to reshape and redirect their pedagogical strategies. Whether allowing spiritually formative reading to enhance a literature course, employing table fellowship and shared meals to reinforce concepts in a pre-nursing nutrition course, or using Christian hermeneutical practices to interpret data in an economics course, these teacher-authors envision ways of teaching and learning that are rooted in the rich tradition of Christian practices, as together they reconceive classrooms and laboratories as vital arenas for faith and spiritual growth.
The late David Smith is regarded worldwide as one of the most important American sculptors. Through the photographs of Uga Mulas, "David Smith in Italy" documents the exhibition of his work as it was displayed at in Milan's dramatic PradaMilanoArte. The exhibition was comprised of works that were loaned by the most prestigious private and institutional collections in the United States, and was curated by Smith's daughter. It included 13 large sculptures, 24 mixed-media works, watercolors and several original photographs by Mulas. Smith's artistic relationship with Mulas (and indeed with Italy) dates back to 1962, when Smith created an exhibition for the Spoleto Two Worlds Festival and was photographed by Mulas.
Christian teachers have long been thinking about what content to teach, but little scholarship has been devoted to how faith forms the actual process of teaching. Is there a way to go beyond Christian perspectives on the subject matter and think about the teaching itself as Christian? In this book David I. Smith shows how faith can and should play a critical role in shaping pedagogy and the learning experience.
How does photography shape the way we see sculpture? In David Smith in Two Dimensions, Sarah Hamill broaches this question through an in-depth consideration of the photography of American sculptor David Smith (1906Ð1965). Smith was a modernist known for radically shifting the terms of sculpture, a medium traditionally defined by casting, modeling, and carving. He was the first to use industrial welding as a sustained technique for large-scale sculpture, influencing a generation of minimalists to come. What is less known about Smith is his use of the camera to document his own sculptures as well as everyday objects, spaces, and bodies. His photographs of his sculptures were published in countless exhibition catalogs, journals, and newspapers, often as anonymous illustrations. Far from being neutral images, these photographs direct a pictorial encounter with spatial form and structure the public display of his work. David Smith in Two Dimensions looks at the sculptorÕs adoption of unconventional backdrops, alternative vantage points, and unusual lighting effects and exposures to show how he used photography to dramatize and distance objects. This comprehensive and penetrating account also introduces SmithÕs expansive archive of copy prints, slides, and negatives, many of which are seen here for the first time. Hamill proposes a new understanding of SmithÕs sculpture through photography, exploring issues that are in turn vital to discourses of modern sculpture, sculptural aesthetics, and postwar art. In SmithÕs photography, we see an artist moving fluidly between media to define what a sculptural object was and how it would be encountered publicly.
The Forgings, the groundbreaking series of industrially forged steel sculptures that the artist produced in 1955 and 1956, are brought together in one book for the first time, alongside complementary sketchbook drawings of the sculptures. This catalogue, documenting an exhibition at Gagosian Gallery, New York, is the first time that all ten Forgings have been on view together since 1956. The sculptures are accompanied by a series of works on paper leading up to The Forgings, as well as sketchbook drawings of the completed sculptures. With the The Forgings, David Smith translated the spontaneity of a brushed line drawing into sculptural form, manipulating thin steel bars to achieve expressive vertical abstractions. The Forgings were unprecedented as works created solely through an industrial machined process, but were perhaps even more radical as pre-Minimalist forms intended to provoke discrete responses in each viewer.