How evangelical churches in the United States convert migrant distress into positive religious devotion Why do migrants become more deeply evangelical in the United States and how does this religious identity alter their self-understanding? In the Hands of God examines this question through a unique lens, foregrounding the ways that churches transform what migrants feel. Drawing from her extensive fieldwork among Brazilian migrants in the Washington, DC, area, Johanna Bard Richlin shows that affective experience is key to comprehending migrants’ turn toward intense religiosity, and their resulting evangelical commitment. The conditions of migrant life—family separation, geographic isolation, legal precariousness, workplace vulnerability, and deep uncertainty about the future—shape specific affective maladies, including loneliness, despair, and feeling stuck. These feelings in turn trigger novel religious yearnings. Evangelical churches deliberately and deftly articulate, manage, and reinterpret migrant distress through affective therapeutics, the strategic “healing” of migrants’ psychological pain. Richlin offers insights into the affective dimensions of migration, the strategies pursued by evangelical churches to attract migrants, and the ways in which evangelical belonging enables migrants to feel better, emboldening them to improve their lives. Looking at the ways evangelical churches help migrants navigate negative emotions, In the Hands of God sheds light on the versatility and durability of evangelical Christianity.
Drucker skillfully traces the development of this critical position, suggesting a methodology closer to the actual practices of the early avant-garde artists based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara. Drucker explores the context for experimental typography in terms of printing, handwriting, and other practices concerned with the visual representation of language. Her book concludes with a brief look at the ways in which experimental techniques of the early avant-garde were transformed in both literary work and in applications to commercial design throughout the 1920s and early 1930s.
British travellers regarded all inhabitants of the seventeenth-century Ottoman empire as ‘slaves of the sultan’, yet they also made fine distinctions between them. This book provides the first historical account of how British travellers understood the non-Muslim peoples they encountered in Ottoman lands, and of how they perceived and described them in the mediating shadow of the Turks. In doing so it changes our perceptions of the European encounter with the Ottomans by exploring the complex identities of the subjects of the Ottoman empire in the English imagination, de-centering the image of the ‘Terrible Turk’ and Islam.
This unique volume illustrates and discusses in detail more than 160 extraordinary fine and decorative art works of the colonial Andes, including examples of the intricate Inca weavings and metalwork that preceded the colonial era as well as a few of the remarkably inventive forms this art took after independence from Spain. An international array of scholars and experts examines the cultural context, aesthetic preoccupations, and diverse themes of art from the viceregal period, particularly the florid patternings and the fanciful beasts and hybrid creatures that have come to characterize colonial Andean art."--Jacket.
Ever since the International Monetary Fund’s first bailout of Greece’s sinking economy in 2010, the phrase “Greek debt” has meant one thing to the country’s creditors. But for millions who claim to prize culture over capital, it means something quite different: the symbolic debt that Western civilization owes to Greece for furnishing its principles of democracy, philosophy, mathematics, and fine art. Where did this other idea of Greek debt come from, Johanna Hanink asks, and why does it remain so compelling today? The Classical Debt investigates our abiding desire to view Greece through the lens of the ancient past. Though classical Athens was in reality a slave-owning imperial power, the city-state of Socrates and Pericles is still widely seen as a utopia of wisdom, justice, and beauty—an idealization that the ancient Athenians themselves assiduously cultivated. Greece’s allure as a travel destination dates back centuries, and Hanink examines many historical accounts that express disappointment with a Greek people who fail to live up to modern fantasies of the ancient past. More than any other movement, the spread of European philhellenism in the eighteenth and nineteenth centuries carved idealized conceptions of Greece in marble, reinforcing the Western habit of comparing the Greece that is with the Greece that once was. Today, as the European Union teeters and neighboring nations are convulsed by political unrest and civil war, Greece finds itself burdened by economic hardship and an unprecedented refugee crisis. Our idealized image of ancient Greece dangerously shapes how we view these contemporary European problems.
It's Valentine's Day and Princess Laurel has a secret admirer. Who can it be? Follow the clues and find out in this hearty adventure. Full color. Includes 20 glittering tattoos.
It's Valentine's Day and Princess Laurel has a secret admirer. Who can it be? Follow the clues and find out in this hearty adventure. Full color. Includes 20 glittering tattoos.
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