Forgiveness is held to be an unqualified moral good, but in cases of abuse and systemic wrong, the expectation to forgive harms victims, minimizes real harm, and lets perpetrators off the hook. Journalist and culture critic Kaya Oakes surveys theology, history, psychology, and pop culture to ask the question: Is it ever better not to forgive?
For every woman, from the young to those in midlife and beyond, who has ever been told, "You can't" and thought, "Oh, I definitely will!"--this book is for you. Women are expected to be many things. They should be young enough, but not too young; old enough, but not too old; creative, but not crazy; passionate, but not angry. They should be fertile and feminine and self-reliant, not barren or butch or solitary. Women, in other words, are caught between social expectations and a much more complicated reality. Women who don't fit in, whether during life transitions or because of changes in their body, mind, or gender identity, are carving out new ways of being in and remaking the world. But this is nothing new: they have been doing so for thousands of years, often at the margins of the same religious traditions and cultures that created these limited ways of being for women in the first place. In The Defiant Middle, Kaya Oakes draws on the wisdom of women mystics and explores how transitional eras or living in marginalized female identities can be both spiritually challenging and wonderfully freeing, ultimately resulting in a reinvented way of seeing the world and changing it. "Change, after all," Oakes writes, "always comes from the margins.
As someone who clocked more time in mosh pits and at pro–choice rallies than kneeling in a pew, Kaya Oakes was not necessarily the kind of Catholic girl the Vatican was after. But even while she immersed herself in the punk rock scene and proudly called herself an atheist, something kept pulling her back to the religion of her Irish roots. After running away from the Church for thirty years, Kaya decides to return. Her marriage is under stress, her job is no longer satisfying, and with multiple deaths in her family, a darkness looms large. In spite of her frustration with Catholic conservatism, nothing brings her peace like Mass. After years of searching to no avail for a better religious fit, she realizes that the only way to find harmony—in her faith and her personal life—is to confront the Church she'd left behind. Rebellious and hypercritical, Kaya relearns the catechisms and achieves the sacraments, all while trying to reconcile her liberal beliefs with contemporary Church philosophy. Along the way she meets a group of feisty feminist nuns, a "pray–and–bitch" circle, an all–too handsome Italian priest, and a motley crew of misfits doing their best to find their voices in an outdated institution. This is a story of transformation, not only of Kaya's from ex–Catholic to amateur theologian, but ultimately of the cultural and ethical pushes for change that are rocking the world's largest religion to its core.
If you want to identify me, ask me not where I live, or what I like to eat, or how I comb my hair, but ask me what I am living for, in detail, and ask me what I think is keeping me from living fully for the thing I want to live for."—Thomas Merton Some of today's most popular spiritual writers—including Rev. James Martin, S.J.; Bishop Robert Barron; Robert Ellsberg; Rev. Daniel P. Horan, O.F.M.; and Kaya Oakes—explore the meaning of life and what we live for using Thomas Merton's life and writings as a guide. In his address before the US Congress, Pope Francis praised Merton as one of four exemplary Americans. This was no surprise to the thousands who already know and appreciate the twentieth-century monk, but there were many listening that day who still have no idea who Merton is. What I Am Living For offers readers new to Merton, as well as longtime enthusiasts, an opportunity to see how the influential twentieth-century monk and writer continues to encourage the awakening of faith in the twenty-first century. The book is in two parts. Each contributor to part one focuses on an aspect of the spiritual life that is of vital importance today and on which Merton made a profound impact. These include: Martin—Finding who God intends you to be Ellsberg—The spiritual need for solitude and stability Oakes—The importance of coming to terms with our sexuality, whether married, single, or celibate Horan—The importance of dialogue with God, culture, society, and people of other faiths Part two features shorter, often more personal reflections on the future of faith, the life and teachings of Merton, and what he still says to anyone who seeks a relationship with God. Contributors include such well-known writers as Barron; Sue Monk Kidd; Pico Iyer; Paula Huston; Ilia Delio, O.F.M.; Paul Quenon, O.C.S.O.; and Sylvia Boorstein.
A lively examination of the spirit and practices that have made the indie movement into a powerful cultural phenomenon You know the look: skinny jeans, Chuck Taylors, perfectly mussed bed-head hair; You know the music: Modest Mouse, the Shins, Pavement. You know the ethos: DIY with a big helping of irony. But what does it really mean to be "indie"? As popular television shows adopt indie soundtracks and the signature style bleeds into mainstream fashion, the quirky individuality of the movement seems to be losing ground. In Slanted and Enchanted, Kaya Oakes demonstrates how this phase is part of the natural cycle of a culture that reinvents itself continuously to preserve its core ideals of experimentation, freedom, and collaboration. Through interviews and profiles of the artists who have spearheaded the cause over the years—including Mike Watt, David Berman, Kathleen Hanna, and Dan Clowes—Oakes examines the collective creativity and cross-genre experimentation that are the hallmarks of this popular lifestyle trend. Her visits to music festivals, craft fairs, and smaller collectives around the country round out the story, providing a compelling portayal of indie life on the ground. Culminating in the current indie milieu of music, crafting, style, art, comics, and zines, Oakes reveals from whence indie came and where it will go next.
Forgiveness is held to be an unqualified moral good, but in cases of abuse and systemic wrong, the expectation to forgive harms victims, minimizes real harm, and lets perpetrators off the hook. Journalist and culture critic Kaya Oakes surveys theology, history, psychology, and pop culture to ask the question: Is it ever better not to forgive?
A lively examination of the spirit and practices that have made the indie movement into a powerful cultural phenomenon You know the look: skinny jeans, Chuck Taylors, perfectly mussed bed-head hair; You know the music: Modest Mouse, the Shins, Pavement. You know the ethos: DIY with a big helping of irony. But what does it really mean to be "indie"? As popular television shows adopt indie soundtracks and the signature style bleeds into mainstream fashion, the quirky individuality of the movement seems to be losing ground. In Slanted and Enchanted, Kaya Oakes demonstrates how this phase is part of the natural cycle of a culture that reinvents itself continuously to preserve its core ideals of experimentation, freedom, and collaboration. Through interviews and profiles of the artists who have spearheaded the cause over the years—including Mike Watt, David Berman, Kathleen Hanna, and Dan Clowes—Oakes examines the collective creativity and cross-genre experimentation that are the hallmarks of this popular lifestyle trend. Her visits to music festivals, craft fairs, and smaller collectives around the country round out the story, providing a compelling portayal of indie life on the ground. Culminating in the current indie milieu of music, crafting, style, art, comics, and zines, Oakes reveals from whence indie came and where it will go next.
This book examines the impacts of tourism-led transformations on the industrial historical waterfront at Darling Harbour and The Rocks in Sydney, Australia in the context of urban restructuring and deindustrialisation. The book also offers an extended reflection on the paradoxes between tourism and heritage. This discussion is not a new concept. However, this book critically explores the significance of the industrial heritage assets of these areas and the implications of the transformation procedures. Although Darling Harbour and The Rocks have generally been considered success stories of transformation with mixed touristic, recreational, residential and commercial activities, this book examines and evaluates how industrial history and heritage values have been affected. It demonstrates that tourism/leisure-led developments create urban landscapes in which cultural identity and historical assets are sacrificed and/or reinvented.
International watercourse law differs from the national laws of most countries. It was of little consequence until the Industrial Revolution but as resources have become scarcer it has taken on a much greater political and economic significance. Ibrahim Kaya's study addresses the key issues.
This book synthesizes theoretical perspectives, empirical evidence and practical strategies for improving teacher education in chemistry. Many chemistry lessons involve mindless “cookbook” activities where students and teachers follow recipes, memorise formulae and recall facts without understanding how and why knowledge in chemistry works. Capitalising on traditionally disparate areas of research, the book investigates how to make chemistry education more meaningful for both students and teachers. It provides an example of how theory and practice in chemistry education can be bridged. It reflects on the nature of knowledge in chemistry by referring to theoretical perspectives from philosophy of chemistry. It draws on empirical evidence from research on teacher education, and illustrates concrete strategies and resources that can be used by teacher educators. The book describes the design and implementation of an innovative teacher education project to show the impact of an intervention on pre-service teachers. The book shows how, by making use of visual representations and analogies, the project makes some fairly abstract and complex ideas accessible to pre-service teachers.
If you want to identify me, ask me not where I live, or what I like to eat, or how I comb my hair, but ask me what I am living for, in detail, and ask me what I think is keeping me from living fully for the thing I want to live for."—Thomas Merton Some of today's most popular spiritual writers—including Rev. James Martin, S.J.; Bishop Robert Barron; Robert Ellsberg; Rev. Daniel P. Horan, O.F.M.; and Kaya Oakes—explore the meaning of life and what we live for using Thomas Merton's life and writings as a guide. In his address before the US Congress, Pope Francis praised Merton as one of four exemplary Americans. This was no surprise to the thousands who already know and appreciate the twentieth-century monk, but there were many listening that day who still have no idea who Merton is. What I Am Living For offers readers new to Merton, as well as longtime enthusiasts, an opportunity to see how the influential twentieth-century monk and writer continues to encourage the awakening of faith in the twenty-first century. The book is in two parts. Each contributor to part one focuses on an aspect of the spiritual life that is of vital importance today and on which Merton made a profound impact. These include: Martin—Finding who God intends you to be Ellsberg—The spiritual need for solitude and stability Oakes—The importance of coming to terms with our sexuality, whether married, single, or celibate Horan—The importance of dialogue with God, culture, society, and people of other faiths Part two features shorter, often more personal reflections on the future of faith, the life and teachings of Merton, and what he still says to anyone who seeks a relationship with God. Contributors include such well-known writers as Barron; Sue Monk Kidd; Pico Iyer; Paula Huston; Ilia Delio, O.F.M.; Paul Quenon, O.C.S.O.; and Sylvia Boorstein.
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