Celebrated scientists Nicholas Christakis and James Fowler explain the amazing power of social networks and our profound influence on one another's lives. Your colleague's husband's sister can make you fat, even if you don't know her. A happy neighbor has more impact on your happiness than a happy spouse. These startling revelations of how much we truly influence one another are revealed in the studies of Dr. Christakis and Fowler, which have repeatedly made front-page news nationwide. In Connected, the authors explain why emotions are contagious, how health behaviors spread, why the rich get richer, even how we find and choose our partners. Intriguing and entertaining, Connected overturns the notion of the individual and provides a revolutionary paradigm-that social networks influence our ideas, emotions, health, relationships, behavior, politics, and much more. It will change the way we think about every aspect of our lives.
In this updated reissue of his 1984 classic, James Fowler applies his groundbreaking research on the development of faith to Christianity. In his revised first chapter Fowler locates his approach to the study of human and faith development in relation to the contemporary conversation about identity and selfhood in postmodernity. Fowler invites readers to explore what it means to find and claim vocation: a purpose for one's life that is part of the purposes of God. Reclaiming covenant and vocation as ideals for responsible, mature, Christian selfhood, Fowler shows how a dynamic understanding of what vocation involves can both inform and transform lives.
James Fowler's work as the originator of faith development research -- his use of the theories of Jean Piaget and Erik Erikson for theology -- has been widely acclaimed for its profound impact on the field of religious education, and for its promise for other fields.
Dr. James Fowler has asked these questions, and others like them, of nearly six hundred people. He has talked with men, women, and children of all ages, from four to eighty-eight, including Jews, Catholics, Protestants, agnostics, and atheists. In many cases, the interviews became in-depth conversations that provided rare, intimate glimpses into the various ways our lives have meaning and purpose, windows into what this books calls faith. Faith, as approached here, is not necessarily religious, nor is it to be equated with belief. Rather, faith is a person's way of leaning into and making sense of life. More verb that noun, faith is the dynamic system of images, values, and commitments that guide one's life. It is thus universal: everyone who chooses to go on living operated by some basic faith. Building on the contributions of such key thinkers as Piaget, Erikson, and Kohlberg, Fowler draws on a wide range of scholarship, literature, and firsthand research to present expertly and engagingly the six stages that emerge in working out the meaning of our lives--from the intuitive, imitative faith of childhood through conventional and then more independent faith to the universalizing, self-transcending faith of full maturity. Stages of Faith helps us to understand our own pilgrimage of faith, the passages of our own quest for meaning and value.
James Fowler Cooper was born in 1907 in Williamsburg County, SC, in the farming district of Indiantown near Kingstree. He entered the University of South Carolina at age 17, graduating with honors with a bachelor's degree in the double major of English and Latin but he also received a Certificate of Art from Miss Katherine B. Heyward who was instructing there and who had studied art abroad. He also had the opportunity of studying under Miss Elizabeth White who joined the University faculty in 1926. After graduation from the University of South Carolina in 1928, he went to New York to study at the Art Student's League where he worked under George Bridgeman and Boardman Robinson among others. Cooper said that it was Boardman Robinson and his draftsmanship that was most influential on him since "draftsmanship is a medium that demands drawing more than any other." It was Robinson's teaching that "induced me to try etching," said Cooper. When he first started his self-education in etching, Cooper contacted Miss Elizabeth White, his former USC teacher who lived in Sumter, SC, and she let him use her etching press until he could get his own. He also continued his friendship with Lamar Dodd (whom he regularly saw at Pawley's Island, on the coast of South Carolina) and who helped him with contacts in the art world.The Charleston Etchers Club, which included such notables as Elizabeth O'Neill Verner and Alfred Hutty, was helping etching as an American art form gain noticed in the 1930s. Cooper, it seems, got some informal advice from Hutty even though he did not enter Hutty's class in Charleston. Cooper was virtually a self-taught etcher getting his lessons from books that he bought and studied. Over the years he took on all forms of etching dry point, soft ground and aquatint but he was an acknowledged master at dry point. Cooper's work has been described as "scholarly, intellectual, and traditional." In the 1930s and 1940s he was considered a "regionalist" by some art critics when that description was being applied to such artists as Grant Wood and Thomas Hart Benton. He was actually a gifted gentleman farmer who worked at his art in his spare time committing to paper the scenes and people around him. He did not think in regionalist terms, at least not as an artist, but rather more as one who tried to honestly record local life in a setting that he loved. His shy demeanor always prevented him from self-promotion so his etchings, even though they constitute a rather large body of work, have generally gone into the private collections of the few who knew him, or his family, or into institutional collections. He died in 1968 in Indiantown when he was only 61. Since he married later in life he had survived just long enough to see his two children off to college. Boyd and Stephanie Saunders have collected most of the examples of his work into an admirable book, "The Etchings of James Fowler Cooper," published by USC Press (Columbia, S.C.) in 1982. His work may also be seen in public collections at the Gibbes Museum of Art in Charleston; the Columbia Museum of Art in Columbia, SC; the South Carolina State Museum in Columbia, SC; and various corporate collections. -- From http://www.askart.com/AskART/artists/biography.aspx?artist=123532.
Jim Fowler explains that Christianity is not a book-religion, not a belief-system, not morality, not role-playing, not social problem-solving, not an ideological option, and not an ...ism, before concluding with the positive emphasis that Christianity IS Christ.
In mid-eighteenth-century Europe, a taste for sentiment accompanied the 'rise of the novel', and the success of Samuel Richardson (1689-1761) played a vital role in this. James Fowler's new study is the first to compare the response of the most famous philosophes to the Richardson phenomenon. Voltaire, who claims to despise the novel, writes four 'Richardsonian' fictions; Diderot's fascination with the English author is expressed in La Religieuse, Rousseau's in Julie - the century's bestseller. Yet the philosophes' response remains ambivalent. On the one hand they admire Richardson's ability to make the reader weep. On the other, they champion a range of Enlightenment beliefs which he, an enthusiast of Milton, vehemently opposed. In death as in life, the English author exacerbates the philosophes' rivalry. The eulogy which Diderot writes in 1761 implicitly asks: who can write a new Clarissa? But also: whose social, philosophical or political ideas will triumph as a result?
A collection of poems for the Halloween season, designed to be read aloud on a dark Autumn into Winter night, when the moon shines bright, and the shades of orange glitter and glimmer through black shadows, into frosty light...
What is the role of the prude in the roman libertin? James Fowler argues that in the most famous novels of the genre (by Richardson, Crebillon fils, Laclos and Sade) the prude is not the libertine's victim but an equal and opposite force working against him, and that ultimately she brings retribution for his social, erotic and philosophical presumption. In a word, she is his Nemesis. He is vulnerable to her power because of the ambivalence he feels towards her; she is his ideological enemy, but also his ideal object. Moreover, the libertine succumbs to an involuntary nostalgia for the values of the Seventeenth Century, which the prude continues to embody through the age of Enlightenment. In Crebillon fils and Richardson, the encounter between libertine and prude is played out as a skirmish or duel between two individuals. In Laclos and Sade, the presence of female libertines (the Marquise de Merteuil and Juliette) allows that encounter to be reenacted within a murderous triangle.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.