Blackfoot Ways of Knowing is a journey into the heart and soul of Blackfoot culture. In sharing her personal story of "coming home" to reclaim her identity within that culture, Betty Bastien offers us a gateway into traditional Blackfoot ways of understanding and experiencing the world.
Blackfoot Ways of Knowing is a journey into the heart and soul of Blackfoot culture. In sharing her personal story of "coming home" to reclaim her identity within that culture, Betty Bastien offers us a gateway into traditional Blackfoot ways of understanding and experiencing the world.
The Revolution in France and war between France and England cause a dramatic upheaval in the lives of a wealthy young French Countess and a humble English yeoman, and each face apparently insuperable difficulties until fate brings them together.
Michel Houellebecq is France’s most famous and controversial living novelist. Since his first novel in 1994, Houellebecq’s work has been called pornographic, racist, sexist, Islamophobic, and vulgar. His caricature appeared on the cover of the French satirical weekly Charlie Hebdo on January 7, 2015, the day that Islamist militants killed twelve people in an attack on their offices and also the day that his most recent novel, Soumission—the story of France in 2022 under a Muslim president—appeared in bookstores. Without God uses religion as a lens to examine how Houellebecq gives voice to the underside of the progressive ethos that has animated French and Western social, political, and religious thought since the 1960s. Focusing on Houellebecq’s complicated relationship with religion, Louis Betty shows that the novelist, who is at best agnostic, “is a deeply and unavoidably religious writer.” In exploring the religious, theological, and philosophical aspects of Houellebecq’s work, Betty situates the author within the broader context of a French and Anglo-American history of ideas—ideas such as utopian socialism, the sociology of secularization, and quantum physics. Materialism, Betty contends, is the true destroyer of human intimacy and spirituality in Houellebecq’s work; the prevailing worldview it conveys is one of nihilism and hedonism in a postmodern, post-Christian Europe. In Betty’s analysis, “materialist horror” emerges as a philosophical and aesthetic concept that describes and amplifies contemporary moral and social decadence in Houellebecq’s fiction.
First published in 1994. While not setting out to write a book about social policy, Ivanoff, Blythe and Tripodi, seasoned and well-known contributors to the spirited debate on the proper relationship of research and practice methods in direct services, have, nonetheless, delivered much useful commentary on how those direct services resources ought best be deployed. This book is to a clear call for commitment of skilled professional resources for those citizens whose serious and often multiple problems have already deeply involved them in public sector services.
Taking a new approach to consideration of the sculpture created in France during the seventeenth and eighteenth centuries, this book is concerned with its societal roles and the ways in which it was received. The author draws on an extensive range of texts by artists, critics, art theoreticians and other writers as well as on images, setting contemporary conceptions of the nature and purposes of sculpture and individual works into the contexts of the elite and popular cultures of the time. Among topics included are investigations of the employment of statuary for political and religious communication, pictorial representations of sculpture, the comparative roles of painting and sculpture, and the social status of various kinds of sculptors. Previous treatments have dealt with these productions primarily in terms of stylistic developments or of the accomplishments of individual sculptors. This study however approaches its subject thematically rather than chronologically or biographically, while nevertheless acknowledging developments and variations that occurred during the period.
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