Modernity and the Rise of the Pocket God explores the relationship between modern religion and ancient values. Journey through the bucolic fields of the ancient villager, en route to the concrete jungles and splendid skylines of the modern city-goer. See what wedded the ancient believer to his God and his fellow believers. Then glimpse the growing chasm between the modern believer, her society, and her Father. And, in the end, see what us modern folks can do to attain an ancient-like communion with the Lord.
-- Christians make up more than three-fourths of the U.S. adult population, at approximately 159 million, and come from more diverse backgrounds than ever before. -- Provides accurate information from a recognized scholar of comparative religions -- no prior knowledge required. -- Virtually no other pocket-sized titles taking a comparative-religion approach to Christianity. Christianity has always been America's predominant faith. Current studies show that Christianity's popularity is not letting up but that its ranks are growing. Moreover, it has been adopted by great numbers of people outside of Europe and North America, considered the largest religion in the world with 1.8 billion devotees. The Christianity of today, though based on traditional tenants of the faith, is richly varied in interpretation and practice around the world. The Pocket Idiot's Guide "RM" to Christianity starts by briefly tracing the origins of Christian thought with the teachings of Jesus of Nazareth and how his role as the Messiah transformed the faith. Following chapters will concisely present the growth of Christianity and its many traditions throughout the Middle Ages and finally to its period of reformation and resulting sectarian movements. Final sections will focus on the current globalization of Christianity, its effects on Christian practice and beliefs and the new challenges and opportunities the faith will confront going into the 21st century.
In Jesus in Our Wombs, Rebecca J. Lester takes us behind the walls of a Roman Catholic convent in central Mexico to explore the lives, training, and experiences of a group of postulants--young women in the first stage of religious training as nuns. Lester, who conducted eighteen months of fieldwork in the convent, provides a rich ethnography of these young women's journeys as they wrestle with doubts, fears, ambitions, and setbacks in their struggle to follow what they believe to be the will of God. Gracefully written, finely textured, and theoretically rigorous, this book considers how these aspiring nuns learn to experience God by cultivating an altered experience of their own female bodies, a transformation they view as a political stance against modernity. Lester explains that the Postulants work toward what they see as an "authentic" femininity--one that has been eclipsed by the values of modern society. The outcome of this process has political as well as personal consequences. The Sisters learn to understand their very intimate experiences of "the Call"--and their choices in answering it--as politically relevant declarations of self. Readers become intimately acquainted with the personalities, family backgrounds, friendships, and aspirations of the Postulants as Lester relates the practices and experiences of their daily lives. Combining compassionate, engaged ethnography with an incisive and provocative theoretical analysis of embodied selves, Jesus in Our Wombs delivers a profound analysis of what Lester calls the convent's "technology of embodiment" on multiple levels--from the phenomenological to the political.
More than two decades ago, John Galliano and Alexander McQueen arrived on the fashions scene when the business was in an artistic and economic rut. Both wanted to revolutionize fashion in a way no one had in decades. They shook the establishment out of its bourgeois, minimalist stupor with daring, sexy designs. They turned out landmark collections in mesmerizing, theatrical shows that retailers and critics still gush about and designers continue to reference. Their approach to fashion was wildly different—Galliano began as an illustrator, McQueen as a Savile Row tailor. Galliano led the way with his sensual bias-cut gowns and his voluptuous hourglass tailoring, which he presented in romantic storybook-like settings. McQueen, though nearly ten years younger than Galliano, was a brilliant technician and a visionary artist who brought a new reality to fashion, as well as an otherworldly beauty. For his first official collection at the tender age of twenty-three, McQueen did what few in fashion ever achieve: he invented a new silhouette, the Bumster. They had similar backgrounds: sensitive, shy gay men raised in tough London neighborhoods, their love of fashion nurtured by their doting mothers. Both struggled to get their businesses off the ground, despite early critical success. But by 1997, each had landed a job as creative director for couture houses owned by French tycoon Bernard Arnault, chairman of LVMH. Galliano’s and McQueen’s work for Dior and Givenchy and beyond not only influenced fashion; their distinct styles were also reflected across the media landscape. With their help, luxury fashion evolved from a clutch of small, family-owned businesses into a $280 billion-a-year global corporate industry. Executives pushed the designers to meet increasingly rapid deadlines. For both Galliano and McQueen, the pace was unsustainable. In 2010, McQueen took his own life three weeks before his womens' wear show. The same week that Galliano was fired, Forbes named Arnault the fourth richest man in the world. Two months later, Kate Middleton wore a McQueen wedding gown, instantly making the house the world’s most famous fashion brand, and the Metropolitan Museum of Art opened a wildly successful McQueen retrospective, cosponsored by the corporate owners of the McQueen brand. The corporations had won and the artists had lost. In her groundbreaking work Gods and Kings, acclaimed journalist Dana Thomas tells the true story of McQueen and Galliano. In so doing, she reveals the revolution in high fashion in the last two decades—and the price it demanded of the very ones who saved it.
Definitions of modernism have been debated throughout the twentieth century. But both during the height of the modernist era and since, little to no consideration has been given to the work of minority writers as part of this movement. Considering works by writers ranging from B.A. Botkin, T.S. Eliot, Waldo Frank, and Jean Toomer to Pedro Pietri and Allen Ginsberg, these essays examine the disputed relationships between modernity, modernism, and American cultural diversity. In so doing, the collection as a whole adds an important new dimension to our understanding of twentieth-century literature.
This book argues that Faulkner unlocked his truest potential as a modernist artist by turning away from the modernity of the Great War toward aspects of modernity closer to his Mississippi home.
In this new book, Bauman examines how we have moved away from a 'heavy' and 'solid', hardware-focused modernity to a 'light' and 'liquid', software-based modernity. This passage, he argues, has brought profound change to all aspects of the human condition. The new remoteness and un-reachability of global systemic structure coupled with the unstructured and under-defined, fluid state of the immediate setting of life-politics and human togetherness, call for the rethinking of the concepts and cognitive frames used to narrate human individual experience and their joint history. This book is dedicated to this task. Bauman selects five of the basic concepts which have served to make sense of shared human life - emancipation, individuality, time/space, work and community - and traces their successive incarnations and changes of meaning. Liquid Modernity concludes the analysis undertaken in Bauman's two previous books Globalization: The Human Consequences and In Search of Politics. Together these volumes form a brilliant analysis of the changing conditions of social and political life by one of the most original thinkers writing today.
My wife and I love our sons unconditionally and equally. Talking with one of them about his atheism has brought me to a new dimension in my relationship with him, to a review of my own christian beliefs, to a more critical examination of the church, and to a different understanding of ministry in today's world. As personal as I make this all sound, my family represents a thousand families, a hundred thousand and more, who have sat in painful silence because religious differences have taken away their voice. They tire of confrontation, angry discussions, verse hurling and jabbing one another with theories over every conceivable divisive issue. It is a powerful idea that those who do not share our faith should know that we do, not so much in our argument as in our love. It is time to listen.
The essays in this book shed interdisciplinary and multicultural light on a hypothesis that helps to account for such an unexpected convergence of enlightenment and religion in our times: Religion has reentered the public sphere because it puts into question the relation between God and the concept of political sovereignty.
The experience of modernization -- the dizzying social changes that swept millions of people into the capitalist world -- and modernism in art, literature and architecture are brilliantly integrated in this account.
