Paul Ricoeur (1913--2005) remains one of philosophy of religion's most distinctive voices. Ricoeur was a philosopher first, and while his religious reflections are very relevant to theology, Boyd Blundell argues that his philosophy is even more relevant. Using Ricoeur's own philosophical hermeneutics, Blundell shows that there is a way for explicitly Christian theology to maintain both its integrity and overall relevance. He demonstrates how the dominant pattern of detour and return found throughout Ricoeur's work provides a path to understanding the relationship between philosophy and theology. By putting Ricoeur in dialogue with current, fundamental, and longstanding debates about the role of philosophy in theology, Blundell offers a hermeneutically sensitive engagement with Ricoeur's thought from a theological perspective.
Paul Ricoeur (1913--2005) remains one of philosophy of religion's most distinctive voices. Ricoeur was a philosopher first, and while his religious reflections are very relevant to theology, Boyd Blundell argues that his philosophy is even more relevant. Using Ricoeur's own philosophical hermeneutics, Blundell shows that there is a way for explicitly Christian theology to maintain both its integrity and overall relevance. He demonstrates how the dominant pattern of detour and return found throughout Ricoeur's work provides a path to understanding the relationship between philosophy and theology. By putting Ricoeur in dialogue with current, fundamental, and longstanding debates about the role of philosophy in theology, Blundell offers a hermeneutically sensitive engagement with Ricoeur's thought from a theological perspective.
From the bestselling author of Thursdays in the Park comes a tense, emotional drama about what happens to a family when a secret is kept hidden, and a stranger is suddenly introduced into the dynamic. Annie Delancey is happily married, in her early 50s, with three grown children. But Annie guards a secret. At age nineteen she had a baby boy and gave him up for adoption. She still thinks of him every day. One day she receives a letter from Kent Social Services; her son Daniel wants to make contact. A part of her is overjoyed--she longs to meet him. But another part fears what this revelation will do to her family, none of whom know about her past.When Daniel is introduced to Annie's family, a few small tears in the family fabric suddenly grow wide, and the impact of is greater than she could have ever imagined.
This acclaimed series that inspired a hit London Weekend Television sitcom is “a long, gentle breeze of humour” (James Herriot). Based on the author’s real-life experiences after completing seminary and later adapted into a beloved British sitcom, these five novels are a humorous and sweet-natured look at Catholicism in the 1950s. Readers of all creeds will enjoy Father Neil’s adventures at St. Jude’s parish, a corner of London with a raucous congregation full of Irish immigrants. Bless Me, Father: Young Neil Boyd has just finished divinity school. A newly ordained priest, his first post is at St. Jude’s parish where he meets the cantankerous, scheming, and brilliant Father Duddleswell and Mrs. Pring, the sharp-tongued housekeeper. Father Duddleswell is willing to do anything to make sure the Lord’s will be done, from placing a bet to obstructing an interdenominational love affair. A Father Before Christmas: The holiday season is among the most hectic times at St. Jude’s, and this year is no exception for Father Neil. As always, he has his hands full with Father Duddleswell, who has decided to invite all the other sects of Christianity to celebrate Christmas with them. The plan quickly unravels when two religious leaders from another denomination try to convert Father Neil and a clock goes missing—as does the church collection. Father in a Fix: After six months at St. Jude’s, Father Neil makes a New Year’s resolution to wise up. With the crazy collection of characters at his parish, this will be no easy feat, especially when Father Duddleswell is named the prime suspect in the killing of a gambling parishioner’s smelly pig and a generous attempt to give the suspected butcher a day off goes zanily haywire. Bless Me Again, Father: After finishing his first year at St. Jude’s, Father Neil finally feels as if he has his feet firmly planted on the ground. But the parish is still full of surprises, and the clergy are confronted with all manner of crisis. First, there is the dilemma of Dr. Daley, whose drinking is causing his health to deteriorate but who worries that sobriety will ruin his personality. Then, much to Father Duddleswell’s chagrin, a new donkey overruns the church, followed by a fresh litter of kittens. Father Under Fire: As St. Jude’s adds another member to its clergy—Father Abe, an octogenarian with an agenda of his own—the church staff finds themselves embroiled in a rivalry among undertakers, a visit during Holy Week from the bishop with the longest rosary on record, a harebrained scheme to promote holy water as a fertility enhancer, and a night spent under a pool table during a pilgrimage.
Every day in every operating room, the same names are spoken over and over again. These names are the names of the great surgical innovators and teachers of the past. Surgeons call out for Kocher clamps and Deaver retractors. They perform Billroth gastric resections and Bassini hernia repairs. Those names have echoed from the sterile environments of operating rooms for over a hundred years. In Echoes from the Operating Room, Dr. Boyd tells the stories of the principal events and great men of surgery and science and their accomplishments in a concise and compelling style. From the sad story of the men who discovered anesthesia to the romantic reason rubber gloves were first worn by surgeons, the historical highlights that form the basis of modern surgery are brought to life. Every historical vignette concludes with a famous aphorism. Surgeons, nurses, medical students, and surgeons in training will find these stories essential to their heritage, and the public will be drawn in to that sacred and serious place where the stories unfold.
From the series that inspired the hit London Weekend Television sitcom Bless Me, Father: After six months at St. Jude’s, Father Neil finds his parish as outrageous as ever Between the barbs of Mrs. Pring and the grandstanding of Father Duddleswell, the past six months for Father Boyd have been the most eventful of his life. It is now New Year’s Eve. The year 1951 is right around the corner, and Neil has made his resolution: Wise up. With the crazy collection of characters at his parish, this will be no easy feat. Father Neil always tries to do the right thing, but he encounters one misadventure after another. Whether the cantankerous Father Duddleswell has just been identified as the prime suspect in the killing of a gambling parishioner’s smelly pig or a generous attempt to give Father Duddleswell a day off goes zanily haywire, Father Neil manages to tackle every situation with good cheer.
From the philosophy of Aristotle and Confucius, to Thomas Aquinas' Summa Theologiae, to the paintings of Raphael, Botticelli and many more, fascination with the virtues has endured and evolved to fit a wide range of cultural, religious, and philosophical contexts through the centuries. This Very Short Introduction introduces readers to the various virtues: the moral virtues, the intellectual virtues, and the theological virtues, as well as the capital vices. It explores the role of the virtues in moral life, their cultivation, and how they offer ways of thinking and acting that are alternatives to mere rule-following. It also considers the relationship of the virtues to our own emotions, desires, and rational capacities. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
Inscriptions copied from cemeteries on the West Indian islands of Antigua, Dominica, Montserrat, Nevis, St. Kitts, Grenada, St. Lucia, and Trinidad; on the Bahamas; and in the former Dutch colony of Demerara, now a county of Guyana.
Autoradiography in Biology and Medicine focuses on the applications of autoradiography in medicine and biology, including photographic processes, emulsions, and response of films to isotopes and x-rays. The book first offers information on the meaning of autoradiography, including the etymology of autoradiography, photographic emulsion as a scientific instrument, and the relationship of biologists and autoradiography. The publication then examines the photographic process and comparative response of commercial and scientific emulsions. Discussions focus on fixation, washing, emulsion, response of films to electrons, x-rays, and gamma rays, and response of films to beta ray spectra of isotopes. The text takes a look at commercial photographic materials for autoradiography, autoradiographic image, and resolution. The manuscript then reviews the estimation of dose and exposure time, sources of error, and techniques. Topics include chemical variables, estimation of exposure time, errors occurring during the preparation of the autoradiogram for exposure, and contour autoradiography. The book is a valuable reference for readers interested in autoradiography.
To which institutions or social practices should we grant authority? When should we instead assert our own sense of what is right or good or necessary? In this book, James Boyd White shows how texts by some of our most important thinkers and writers—including Plato, Shakespeare, Dickinson, Mandela, and Lincoln—answer these questions, not in the abstract, but in the way they wrestle with the claims of the world and self in particular historical and cultural contexts. As they define afresh the institutions or practices for which they claim (or resist) authority, they create authorities of their own, in the very modes of thought and expression they employ. They imagine their world anew and transform the languages that give it meaning. In so doing, White maintains, these works teach us about how to read and judge claims of authority made by others upon us; how to decide to which institutions and practices we should grant authority; and how to create authorities of our own through our thoughts and arguments. Elegant and accessible, this book will appeal to anyone wanting to better understand one of the primary processes of our social and political lives.
What happens when novelists write about their own lives directly, in memoirs and autobiographies, rather than in novels? How do they present themselves, and what do their self-portraits reveal? In a series of biographical case studies, Portraits from Life examines how seven canonical Modernist writers - Joseph Conrad, Ford Madox Ford, Henry James, Wyndham Lewis, Gertrude Stein, H.G. Wells, and Edith Wharton - depicted themselves in their memoirs and autobiographies during the first half of the twentieth century. Drawing on a range of life-writing sources in this innovative group portrait, Jerome Boyd Maunsell reconstructs the periods during which these authors worked on their memoirs, often towards the end of their lives, and shows how memoirs and autobiographies are just as artful as novels. The seven portraits in the book also create a rich network of encounters, as many of these writers knew each other, and wrote about each other in their reminiscences. Portraits from Life investigates the difficulties and possibilities of autobiography - the relation of fact and fiction, biography and autobiography; the ethical issues of dealing with real people; the thin generic lines between novels and autobiographies; and the deceptive workings of memory - and how all these writers dealt with these concerns as they looked back on their lives. An act of portraiture and biography as well as an act of criticism, moving from London to Paris and through two world wars, it also pieces together a fresh and constantly inter-connecting narrative of the Modernist era in England and France.
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