The Art of Jewish Pastoral Counseling provides a clear, practical guide to working with congregants in a range of settings and illustrates the skills and core principles needed for effective pastoral counseling. The material is drawn from Jewish life and rabbinic pastoral counseling, but the fundamental principles in these pages apply to all faith traditions and to a wide variety of counselling relationships. Drawing on relational psychodynamic ideas but writing in a very accessible style, Friedman and Yehuda cover when, how and why counseling may be sought, how to set up sessions, conduct the work in those sessions and deal with difficult situations, maintain confidentiality, conduct groupwork and approach traumatic and emotive subjects. They guide the reader through the foundational principles and topics of pastoral counseling and illustrate the journey with accessible and lively vignettes. By using real life examples accompanied by guided questions, the authors help readers to learn practical techniques as well as gain greater self-awareness of their own strengths and vulnerabilities. With a host of examples from pastoral and clinical experience, this book will be invaluable to anyone offering counselling to both the Jewish community and those of other faiths. The Art of Jewish Pastoral Counseling will appeal to psychoanalysts, particularly those working with Jewish clients, counselors, psychotherapists, psychoanalysts and rabbis offering pastoral counseling, as well as clergy of other faiths such as ministers, priests, imams and lay chaplains.
Anglo-American modernist writing and the modern mass democratic state emerged at the same time, during the period of 1900-1930. Rachel Potter charts the changes in the ideas of democracy and discusses the wide range of reactions to these changes. She argues that modernist poems were shaped by rapidly evolving and complicated ideas of democracy.
Prepare to understand contemporary politics as never before! Prepare to see the future of American democracy! A recent study at Princeton University came to a shocking conclusion. Our system has been so corrupted by money and influence peddling, America is no longer a democracy. This manifesto offers a detailed, step-by-step plan for cleaning up the corruption in Washington DC, replacing the current crop of pay-for-play politicians with progressive, independent, minor-party candidates, who will be bound by legal contract when elected, to faithfully serve the interests of the voting public. This is electoral reform so radical that in one master stroke, it puts America on the path to a healthy economy and directly addresses its #1 and #2 challenges: the suicidal march to war and the destructive impact of a historically high level of wealth inequality. Brace yourself for a real game-changer which will redefine politics for the foreseeable future.
“They met in ordinary ways,” writes Rachel Cohen in her introduction, “a careful arrangement after long admiration, a friend’s casual introduction, or because they both just happened to be standing near the drinks. . . . They talked to each other for a few hours or for forty years, and later it seemed to them impossible that they could have missed each other.” Each chapter of this inventive consideration of American culture evokes an actual meeting between two historical figures. In 1854, Henry James, as a boy, goes with his father to have a daguerreotype made by Mathew Brady and is captured in a moment of self-consciousness about being American. Brady returns to photograph Walt Whitman and, later, at City Point in the midst of the Civil War, Ulysses S. Grant. Meanwhile, Henry James begins a lasting friendship with William Dean Howells, and also meets Sarah Orne Jewett, who in turn is a mentor to Willa Cather. Mark Twain publishes Grant’s memoirs; W.E.B. Du Bois and his professor William James visit the young Helen Keller; and Edward Steichen and Alfred Stieglitz argue about photography. Later, Carl Van Vechten and Gertrude Stein, who was also a student of William James’s, attend a performance of The Rite of Spring; Hart Crane goes out on the town with Charlie Chaplin; Langston Hughes and Zora Neale Hurston write a play together; Elizabeth Bishop takes Marianne Moore, who was photographed by both Van Vechten and Richard Avedon, to the circus; Avedon and James Baldwin collaborate on a book; John Cage and Marcel Duchamp play chess; and Norman Mailer and Robert Lowell march on the Pentagon in the anti–Vietnam War demonstration of 1967. The accumulation of these pairings draws the reader into the mysterious process through which creativity has been sparked and passed on among iconoclastic American writers and artists. Ultimately, Rachel Cohen reveals a long chain of friendship, rebellion, and influence stretching from the moment just before the Civil War through a century that had a profound effect on our own time. Drawing on a decade of research, A Chance Meeting makes its own illuminating contribution to the tradition of which Cohen writes.
Towards Embodied Performance invites directors and other generative performance makers to experiment with making their own original, visually stunning, sonically immersive, and physically rigorous embodied performance. Through historical context, the author’s 30-plus years of experience, and original interviews with leading theatre artists, this book sets the stage for a new generation of artists building boundary-breaking work. Directors are often categorized into one of only two frameworks: the Stanislavskian director, whose method is based on text analysis and character wants and needs, and the “auteur” director, whose work might focus on visual spectacle at the expense of text or character objectives. This book argues that the director of embodied performance fuses these two approaches, acting as the author of the event. In Part I, readers will explore the core elements of embodied performance – space, time, body, language, and action – through a lens that bridges traditional directing methodology with experimental, devised, collaborative theatre-making. Part II provides examples of this embodied practice by multi-disciplinary artists in visual and sound installation, video and film, dance-theatre, and new music/opera, including such artists as Shirin Neshat, James Turrell, Bill T. Jones, Janet Cardiff, Okwui Okpokwasili, William Kentridge, and Heather Christian. Part III suggests creative prompts and exercises for performance makers to engage the visual, physical, textual, and sonic in compositional storytelling on stage. Towards Embodied Performance is an invaluable resource for theatre directors, devisers, and generative artists at all levels from students to teachers, from early-career to mid-career artists. Directors, actors, choreographers, designers, composers, writers, scholars, and engaged audience members can all use this text to explore collaboratively created performance that invites its audience into the ripest version of the present moment.
A fine treatment of this critical time in geology's history. Although it goes against our standard histories of the field, Laudan defends her views convincingly. Her style is direct, with carefully reasoned personal opinions and interpretations clearly defined."—Jere H. Lipps, The Scientist
City locals face their own struggles as they deal with the day-to-day of their individual lives, until their routines are disturbed by the discovery that there may be a murderer lurking among them in the shadows. Someone is picking people off in the night and leaving the bodies to be found in the morning. Locals see on the news that the victims are being discovered very close to some of their homes in Midtown Sacramento, California. This page-turning fiction thriller dives into the lives of three main characters: the killer, a college student, and a therapist, whose stories become intertwined. City of Trees, City of Shadows blends themes of medicine, mental healthcare, and violence—and nobody is safe.
A “heartwarming, life-affirming” memoir of a relationship with an intellectually disabled sibling: “Read this book. It might just change your life” (Boston Herald). Beth is a spirited woman with an intellectual disability who lives intensely and often joyfully, and spends most of her days riding the buses in Pennsylvania. The drivers, a lively group, are her mentors; her fellow passengers, her community—though some display less patience or kindness than others. Her sister, Rachel, a teacher and writer, camouflages her emotional isolation by leading a hyperbusy life. But one day, Beth asks Rachel to accompany her on public transportation for an entire year—and Rachel accepts. This wise, funny, deeply affecting book is the chronicle of that remarkable time, as Rachel learns how to live in the moment, how to pay attention to what really matters, how to change, how to love—and how to slow down and enjoy the ride. Weaving in anecdotes and memories of terrifying maternal abandonment, fierce sisterly loyalty, and astonishing forgiveness, Rachel Simon brings to light a world that is almost invisible to many people, finds unlikely heroes in everyday life, and, without sentimentality, wrestles with her own limitations and portrays Beth as the endearing, feisty, independent person she is. “With tenderness and fury, heartbreak and acceptance . . . Simon comes to the inescapable conclusion that we are all riders on the bus, and on the bus we are all the same.” —Jacquelyn Mitchard, author of The Deep End of the Ocean
This book explores the concept of ‘quiet’ – an aesthetic of narrative driven by reflective principles – and argues for the term’s application to the study of contemporary American fiction. In doing so, it makes two critical interventions. Firstly, it maps the neglected history of quiet fictions, arguing that from Hester Prynne to Clarissa Dalloway, from Bartleby to William Stoner, the Western tradition is filled with quiet characters. Secondly, it asks what it means for a novel to be quiet and how we might read for quiet in an American literary tradition that critics so often describe as noisy. Examining recent works by Marilynne Robinson, Teju Cole and Ben Lerner, among others, the book argues that quiet can be a multi-faceted state of existence, one that is communicative and expressive in as many ways as noise but filled with potential for radical discourse by its marginalisation as a mode of expression.
Yiddish in Israel: A History challenges the commonly held view that Yiddish was suppressed or even banned by Israeli authorities for ideological reasons, offering instead a radical new interpretation of the interaction between Yiddish and Israeli Hebrew cultures. Author Rachel Rojanski tells the compelling and yet unknown story of how Yiddish, the most widely used Jewish language in the pre-Holocaust world, fared in Zionist Israel, the land of Hebrew. Following Yiddish in Israel from the proclamation of the State until today, Rojanski reveals that although Israeli leadership made promoting Hebrew a high priority, it did not have a definite policy on Yiddish. The language's varying fortune through the years was shaped by social and political developments, and the cultural atmosphere in Israel. Public perception of the language and its culture, the rise of identity politics, and political and financial interests all played a part. Using a wide range of archival sources, newspapers, and Yiddish literature, Rojanski follows the Israeli Yiddish scene through the history of the Yiddish press, Yiddish theater, early Israeli Yiddish literature, and high Yiddish culture. With compassion, she explores the tensions during Israel's early years between Yiddish writers and activists and Israel's leaders, most of whom were themselves Eastern European Jews balancing their love of Yiddish with their desire to promote Hebrew. Finally Rojanski follows Yiddish into the 21st century, telling the story of the revived interest in Yiddish among Israeli-born children of Holocaust survivors as they return to the language of their parents.
In Genders, Races and Religious Cultures in Modern American Poetries, Rachel Blau Duplessis shows how, through poetic language, modernist writers represented the debates and ideologies concerning New Woman, New Negro and New Jew in the early twentieth century. From the poetic text emerge such social issues of modernity as debates on suffrage, sexuality, manhood, and African-American and Jewish subjectivities. By a reading method she calls 'social philology' - a form of close reading inflected with the approaches of cultural studies - Duplessis engages with the work of such canonical poets as Wallace Stevens, Ezra Pound, T. S. Eliot, William Carlos Williams, Gertrude Stein, Marianne Moore and H. D., as well as Mina Loy, Countee Cullen, Alfred Kreymborg and Langston Hughes, writers, she claims, still marginalized by existing constructions of modernism. This book is an ambitious attempt to remap our understanding of modern poetries and poetics, and the relationship between early twentieth-century writing and society.
The swank apartment, the killer job, and the perfect boyfriend/girlfriend haven't yet fallen into place. Is this reallyadulthood? Welcome to life before the mortgage. Here's what you need to know. Christina Amini and Rachel Hutton have brought together the very best writing on this unpredictable -- and often hilarious -- time. This book features essays by celebrated writers such as Joel Stein, Thisbe Nissen, Thomas Beller, Foundmagazine's Davy Rothbart, and ReadyMade's Shoshana Berger, as well as exciting new writers.
A new work of scholarship that considers several of the most prominent poets writing from the outbreak of the Spanish Civil War to the end of World War II.
Determined to broaden her cultural horizons and live a “fiery” life, twenty-one-year-old Rachel DeWoskin hops on a plane to Beijing to work for an American PR firm based in the busy capital. Before she knows it, she is not just exploring Chinese culture but also creating it as the sexy, aggressive, fearless Jiexi, the starring femme fatale in a wildly successful Chinese soap opera. Experiencing the cultural clashes in real life while performing a fictional version onscreen, DeWoskin forms a group of friends with whom she witnesses the vast changes sweeping through China as the country pursues the new maxim, “to get rich is glorious.” In only a few years, China’s capital is transformed. With “considerable cultural and linguistic resources” (The New Yorker), DeWoskin captures Beijing at this pivotal juncture in her “intelligent, funny memoir” (People), and “readers will feel lucky to have sharp-eyed, yet sisterly, DeWoskin sitting in the driver’s seat”(Elle).
Beginning with a subtle and persuasive analysis of the cultural context, Farebrother examines collage in modernist and Harlem Renaissance figurative art and unearths the collage sensibility attendant in Franz Boas's anthropology. This strategy makes explicit the formal choices of Harlem Renaissance writers by examining them in light of African American vernacular culture and early twentieth-century discourses of anthropology, cultural nationalism and international modernism. At the same time, attention to the politics of form in such texts as Toomer's Cane, Locke's The New Negro and selected works by Hurston reveals that the production of analogies, juxtapositions, frictions and distinctions on the page has aesthetic, historical and political implications. Why did these African American writers adopt collage form during the Harlem Renaissance? What did it allow them to articulate? These are among the questions Farebrother poses as she strives for a middle ground between critics who view the Harlem Renaissance as a distinctive, and necessarily subversive, kind of modernism and those who foreground the cooperative nature of interracial creative work during the period. A key feature of her project is her exploration of neglected connections between Euro-American modernism and the Harlem Renaissance, a journey she negotiates while never losing sight of the particularity of African American experience. Ambitious and wide-ranging, Rachel Farebrother's book offers us a fresh lens through which to view this crucial moment in American culture.
In Immortal: Love Stories With Bite, edited by New York Times bestselling author of the House of Night series P.C. Cast, seven of today's most popular YA vampire and contemporary fantasy authors offer new short stories that prove when you're immortal, true love really is forever. Rachel Caine (the Morganville Vampires series) revisits the setting of her popular series, where the vampires are in charge and love is a risky endeavor, even when it comes to your own family Cynthia Leitich Smith (Tantalize) gives us a love triangle between a vampire, a ghost and a human girl, in which none of them are who or what they seem Claudia Gray (Evernight) takes us into the world of her Evernight series, in which a pre–Civil War courtesan-to-be is courted by a pale, fair-haired man whose attentions are too dangerous to spurn, in more ways than one Richelle Mead (the Vampire Academy series) brings us the tale of a young vampire on the run from the rest of her kind, and the human boy who provides the getaway car, as well as a reason to keep running Nancy Holder (the Wicked series, “Buffy the Vampire Slayer") immerses us in a post-apocalyptic New York where two best friends are forced to make a choice that may kill them both Kristin Cast (the House of Night series) introduces us to a new kind of vampire: one with roots in Greek mythology, and the power to alter space and time to save the girl he's meant to love Rachel Vincent (the Soul Screamers series) explores a new corner of her series with the story of aleanan sidhe capable of inspiring the musician she loves to new creative heights, or draining him, and his talent, dry And Tanith Lee (Black Unicorn) shows us what happens when a bright young woman with some supernatural savvy encounters a misguided (but gorgeous) young vampire
Humor, Empathy, and Community in Twentieth-Century American Poetry explores how American poets of the last hundred years have used laughter to create communities of readers and writers. For poets slightly outside of the literary or social mainstream, humor encourages mutual understanding and empathic insight among artist, audience, and subject. As a result, laughter helps poets reframe and reject literary, political, and discursive hierarchies—whether to overturn those hierarchies, or to place themselves at the top. While theorists like Freud and Bergson argue that laughter patrols and maintains the boundary between in-group and out-group, this volume shows how laughter helps us cross or re-draw those boundaries. Poets who practice such constructive humor promote a more democratic approach to laughter. Humor reveals their beliefs about their audiences and their attitudes toward the Romantic notion that poets are exceptional figures. When poets use humor to promote empathy, they suggest that poetry's ethical function is tied to its structure: empathy, humor, and poetry identify shared patterns among apparently disparate objects. This book explores a broad range of serious approaches to laughter: the inclusive, community-building humor of W. H. Auden and Marianne Moore; the self-aggrandizing humor of Ezra Pound; the self-critical humor of T. S. Eliot; Sterling Brown's antihierarchical comedy; Elizabeth Bishop's attempts to balance mockery with sympathy; and the comic epistemologies of Lucille Clifton, Stephanie Burt, Cathy Park Hong, and other contemporary poets. It charts a developing poetics of laughter in the twentieth and twenty-first centuries, showing how humor can be deployed to embrace, to exclude, and to transform.
‘Hard not to hate Rachel McCormack who bags the best gig of the year and then writes a brilliant book’ Val McDermid Whisky is Scotland's national drink and has been for over five hundred years, since then becoming a global phenomenon. It is a drink that is a profound and important part of Scottish life and culture but, unlike other countries and their national libations, it has hardly been used in food. Rachel McCormack is going to change that with this book. Limiting whisky to a drink, she believes, is similar to the traditional Presbyterian attitude to sex; it should only be done with the lights off and in the missionary position. Rachel believes that there is an entire Karma Sutraof whisky use out there and she has put it in this book. Interspersing an engaging mix of anecdotes, history and information on distillers and recipes, this book will appeal to everyone from the cooking whisky connoisseur, to the novice whisky learner looking for some guidance on what to eat and cook. Rachel travels the length and breadth of Scotland, discovering a myriad of unique and interesting people and facts about this remarkable drink, with interviews with the key people who create it around the country, as she visits the famous distilleries of her country, as well as the more home-grown variety.
Once backed primarily by anti-abortion activists, fetal rights claims are now promoted by a wide range of interest groups in American society. Government and corporate policies to define and enforce fetal rights have become commonplace. These developments affect all women—pregnant or not—because women are considered "potentially pregnant" for much of their lives. In her powerful and important book, Rachel Roth brings a new perspective to the debate over fetal rights. She clearly delineates the threat to women's equality posed by the new concept of "maternal-fetal conflict," an idea central to the fetal rights movement in which women and fetuses are seen as having interests that are diametrically opposed. Roth begins by placing fetal rights politics in historical and comparative context and by tracing the emergence of the notion of fetal rights. Against a backdrop of gripping stories about actual women, she reviews the difficulties fetal rights claims create for women in the areas of employment, health care, and drug and alcohol regulation. She looks at court cases and state legislation over a period of two decades beginning in 1973, the year of the Roe v. Wade decision legalizing abortion. Her exhaustive research shows how judicial decisions and public policies that grant fetuses rights tend to displace women as claimants, as recipients of needed services, and ultimately as citizens. When a corporation, medical authority, or the state asserts or accepts rights claims on behalf of a fetus, the usual justification involves improving the chance of a healthy birth. This strategy, Roth persuasively argues, is not necessary to achieve the goal of a healthy birth, is often counterproductive to it, and always undermines women's equal standing.
In this moving account of the life, work, and ethics of four Jewish women intellectuals in the world of the Holocaust, Rachel Feldhay Brenner explores the ways in which these women sought to maintain their faith in humanity while aware of intensifying destruction. She argues that through their written responses of autobiographical self-assertion, Edith Stein, Simone Weil, Anne Frank, and Etty Hillesum resisted the Nazi terror in ways that defy its horrifying dehumanization. Personal identity crises engendered the intellectual-spiritual acts of autobiographical self-searching for each of these women. About to become a nun in 1933, Edith Stein embarked on her autobiography as a daughter of a Jewish family. Fleeing France and deportation in 1942, Simone Weil examined her inner struggle with faith and the Church in her "Spiritual Autobiography." Hiding for more than two years in the attic, Anne Frank poignantly confided in her diary about her efforts to become a better person. Having volunteered as a social worker in Westerbork, Etty Hillesum searched her soul for love in the reality of terror. In each case, autobiographical writing becomes an act of defiance that asserts humanity in a dehumanized/dehumanizing world. By focusing on the four women's accomplishments as intellectuals, writers, and thinkers, Brenner's account liberates them from other posthumous treatments that depict them as symbols of altruism, sanctity, and victimization. Her approach also elucidates the particular predicament of Western Jewish intellectuals who trusted the ideals of the Enlightenment and believed in human fellowship. While suffering the terror of physical annihilation decreed by the Final Solution, these Jews had to contend with their exclusion from the world that they considered theirs. On yet another level, this study of four extraordinary life stories contributes to a deeper understanding of the postwar development of ethical, theological, and feminist thought. In showing concern about a world that had ceased to care for them, Stein, Weil, Frank, and Hillesum demonstrated that the meaning of human existence consisted in the responsibility for the other, in the protection of the suffering God, in the primary value of relatedness through empathy. Arguing that their ethical tenets anticipated the thought of such postwar thinkers as Levinas, Fackenheim, Tillich, Arendt, and Nodding, Brenner proposes that the breakup of the humanist tradition of the Enlightenment in the Holocaust engendered the postwar exploration of humanist potential in self-givenness to the other.
At once passionate and dispassionate, Rachel Blau DuPlessis meticulously outlines key moments of choice and debate about masculinity among writers as disparate as Ezra Pound, T. S. Eliot, Louis Zukofsky, Charles Olson, Robert Creeley, and Allen Ginsberg, choices that construct consequential models for institutions of poetic practice.
Ten years ago, Rachel Abramowitz began interviewing the most powerful women in the movie-making business in an effort to discover how they had infiltrated this male-dominated world. From superstar actors to independent directors, women in all arenas opened up to her, and the result is extraordinary—together, these stories comprise the most comprehensive history to date of women in Hollywood. Here, in their own candid and provocative words, are Jodie Foster, Penny Marshall, Dawn Steel, Sherry Lansing, Barbra Streisand, Nora Ephron, Meryl Streep, Jane Campion, and many others—in short, one of the most talented casts ever assembled. Poignant, inspiring, scandalous, and hilarious, this is at once a landmark look at the evolution of women’s place in filmmaking and a glimpse inside one of the most powerful industries in American culture.
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