Great Truths from One Woman's Conversations With the Apostle Paul presents, in dialog form, the teachings of Paul on the role of women in the home, church and society. The author presents Paul's teachings on this subject in nine conversations. One woman asks the questions, with the answers based solidly on the biblical record. The content of the answers has been carefully researched in commentaries and historical sources. The conversations take into account the cultural and political background of the period and places. A final chapter charts the progress in applying Paul's teachings of equality in the work of the church. Subject and Scripture indices, along with a glossary, are provided to aid in study and understanding. Following the account of each conversation are interactive learning exercises that can be completed individually or in a group setting. This book is a handy tool for group and individual Bible study.This is the fourth in a series of conversation books written by this author.
Information overload is a subject of vital, ubiquitous concern in our time. The Poetics of Information Overload reveals a fascinating genealogy of information saturation through the literary lens of American modernism. Although technology has typically been viewed as hostile or foreign to poetry, Paul Stephens outlines a countertradition within twentieth- and twenty-first-century literature in which avant-garde poets are centrally involved with technologies of communication, data storage, and bureaucratic control. Beginning with Gertrude Stein and Bob Brown, Stephens explores how writers have been preoccupied with the effects of new media since the advent of modernism. He continues with the postwar writing of Charles Olson, John Cage, Bern Porter, Hannah Weiner, Bernadette Mayer, Lyn Hejinian, and Bruce Andrews, and concludes with a discussion of conceptual writing produced in the past decade. By reading these works in the context of information systems, Stephens shows how the poetry of the past century has had, as a primary focus, the role of data in human life.
We-Topia is the true and shocking story of how ego conquered the world. From happier, healthier, and more spiritually evolved nomadic ancestors to a selfish globalized world that exploits, divides, and petrifies today, We-Topia explores how a powerless society has always been part of the plan. And it's worked. Across the millennia, society gradually devalued human consciousness while social systems such as slavery, money, and religion turned people into resources. Now, like a James Bond villain, this purposeful manipulation mesmerizes us to be consumers and tells us that higher spiritual evolution is a delusion. How did this happen? How do we change? What is life's purpose and meaning? We-Topia answers these questions with some good news - there's a way out of this mess and there always has been. As our ancestors knew, liberty from ego is possible when society values real human needs, and We-Topia provides the concepts for you to begin. It is a spiritual odyssey from me to we - the ultimate inside-out rebellion against 13,000 years of conditioning.
The arch-Romantic Victor Hugo (1802-85) and the Existentialist philosopher Jean-Paul Sartre (1905-80) are widely perceived to have little in common beyond their canonical status. However, responding to Sartre's often overlooked fascination with Hugo, Bradley Stephens cuts through generic divisions to argue that significant parallels between the two writers have been neglected. Stephens argues that both Hugo and Sartre engage with human beings in distinctly non-ontological terms, thereby anticipating postmodernist approaches to human experience. From different origins but towards similar realisations, they expose the indeterminate human condition as at once release and restriction. These writers insist that liberty is not simply a political ideal, but an existential condition which engages human endeavour as a dynamic rather than definitive mode of being. This incisive new book affirms the ongoing relevance of the two most iconic French writers of the modern period to contemporary discourse on what it means to be free.
An exploration of minimal writing—texts generally shorter than a sentence—as complex, powerful literary and visual works. In the 1960s and 70s, minimal and conceptual artists stripped language down to its most basic components: the word and the letter. Barbara Kruger, Jenny Holzer, Carl Andre, Lawrence Weiner, and others built lucrative careers from text-based art. Meanwhile, poets and writers created works of minimal writing—visual texts generally shorter than a sentence. (One poem by Aram Saroyan reads in its entirety: eyeye.) In absence of clutter, Paul Stephens offers the first comprehensive account of minimal writing, arguing that it is equal in complexity and power to better-known, more commercial text-based art. Minimal writing, Stephens writes, can be beguilingly simple on the surface, but can also offer iterative reading experiences on multiple levels, from the fleeting to the ponderous. “absence of clutter,” for example, the entire text of a poem by Robert Grenier, is both expressive and self-descriptive. Stephens first sets out a theoretical framework for reading and viewing minimal writing and then offers close readings of works of minimal writing by Saroyan, Grenier, Norman Pritchard, Natalie Czech, and others. He “reverse engineers” recent works by Jen Bervin, Craig Dworkin, and Christian Bök that draw on molecular biology, and explores print-on-demand books by Holly Melgard, code poetry by Nick Montfort, Twitter-based work by Allison Parrish, and the use of Instagram by Hans-Ulrich Obrist and Saroyan. Text, it seems, is becoming ever more prevalent in visual art; meanwhile, poems are getting shorter. When reading has become scanning a screen and writing tapping out a text, absence of clutter invites us to reflect on how we read, see, and pay attention.
Everyone in Wilbeth Green has something to hide, but she's about to uncover their secrets. 1956: In a quiet English village, the smoldering ruins of Rosemont Abbey have set the residents' tongues wagging, and everyone is quick to accuse troublemaker Paul Everly of the crime of arson. Paul has vanished without a trace, leaving only his plucky twin sister, Louisa, certain of his innocence. Fueling her conviction is an inexplicable connection--she felt her twin's death an hour before the abbey went up in flames. Armed with nothing but her wit and her keen sense of intuition, Louisa embarks on her own investigation, challenging the dubious townspeople and the disdain of her aunt and uncle. Even Inspector Malcolm Sinclair, once Paul's closest friend, warns Louisa to abandon her pursuit. But Louisa is determined to solve a murder no one else believes was committed, even if it means unraveling secrets that could shake Wilbeth Green to its core. "A thrilling and beautifully written tale from start to finish, filled with a strong sense of time, deft characterization, and more than enough twists to keep one guessing. Readers will be as hard-pressed as I was to put this one down once they begin."--ANNA LEE HUBER, USA Today bestselling author "What an absolute delight of a novel! Naomi Stephens has a new fan in me!"--SARAH SUNDIN, Christy Award-winning author "An English murder mystery set in the 1950s, plus a friends (and sometimes enemies)-to-more romance? Naomi Stephens is an author to watch!"--JULIE KLASSEN, bestselling author
Not The Life & Times of the Rich & Famous if you are referring to money. Yet most of us are very rich spiritually! Self-help, self-examination, self-esteem, this is all about ourselves and the things we get ourselves into.
He knew many people who would not fit in the handy boxes society offered them. Paul Mooney sailed across the Pacific with him in a Chinese junk. Moye Stephens flew as a stunt pilot in Howard Hughes's silent movies. Elly Beinhorn was Germany's Amelia Earhart. Pancho Barnes founded the Happy Bottom Riding Club. He met history-makers like Lenin's widow and the man who shot the Czar and many others. Richard Halliburton was a maverick, a rebel, in an America coming of age in the world. He couldn't see himself fitting into that America, although he was very much its product with his can-do attitude and his things-will-get-better belief. For all that, he was a round peg with nothing but square holes awaiting him as he reached adulthood. He could not see things the way most people saw them. His parents wanted him to play by the rules, to live an even tenor, and he scorned the rules, especially the phrase "even tenor." He said no to their even tenor and in doing so he turned his back on an America that held those values. Despite having little respect for the rules, he became wildly successful because his life was wildly improbable as a travel-adventure writer. Because he dared, he became an icon of his era, more famous in his day than Amelia Earhart, with farmers' wives in Topeka, factory workers in Detroit, and newspaper boys in Cleveland buying his books." -- Book cover.
Rebecca York is feeling confident with a clear head, a happy heart, and a new plan in hand. Just back from spending six months in France, Rebecca leisurely walks around the grounds of her godmother's historic house on a Texas lake while dreaming of converting it into an elegant bed-and-breakfast and saving it from encroaching land developers. But just as she settles in to spend her first night at Maple Villa, a key turns the lock and the front door creaks open, revealing a man from Rebecca's past. Paul Drew, a distinguished foreign news correspondent and author, first met Rebecca nearly seventeen years ago and is still as charming as she remembers him. Except there is only one problem: Paul has also received a key to the endangered old lake residence from Rebecca's godmother and has already moved in to recuperate from a wound he received in the Middle East. But even as the sweet affection started many years ago between them begins to reawaken, neither Rebecca nor Paul can fathom the idea of giving up their individual dreams for Maple Villa. In this contemporary romance, attraction, passion, and strong aspirations bring two souls together in the face of adversity as an old house quietly awaits its destiny.
If you want to know where you are, you need a good clock. The surprising connection between time and placeais explored inaTime and Navigation- The Untold Story of Getting from Here to There, the companion book to the National Air and Space Museum exhibition of the same name. Today we use smartphones and GPS, but navigating has not always been so easy. The oldest "clock" is Earth itself, and the oldest means of keeping time came from observing changes in the sky. Early mariners like the Vikings accomplished amazing feats of navigation without using clocks at all. Pioneering seafarers in the Age of Exploration used dead reckoning and celestial navigation; later innovations such as sextants and marine chronometers honed these techniques by measuring latitude and longitude. When explorers turned their sights to the skies, they built on what had been learned at sea. For example, Charles Lindbergh used a bubble sextant on his record-breaking flights. World War II led to the development of new flight technologies, notably radio navigation, since celestial navigation was not suited for all-weather military operations. These forms of navigation were extended and enhanced when explorers began guiding spacecraft into space and across the solar system. Astronauts combined celestial navigation technology with radio transmissions. The development of the atomic clock revolutionized space flight because it could measure billionths of a second, thereby allowing mission teams to navigate more accurately. Scientists and engineers applied these technologies to navigation on earth to develop space-based time and navigation services such as GPS that is used every day by people from all walks of life. While the history of navigation is one of constant change and innovation, it is also one of remarkable continuity. Time and Navigation tells the story of navigation to help us understand where we have been and how we got there so that we can understand where we are going.
This schools' edition of Mark Haddon's multi-award-winning novel adapted for the stage of the National Theatre by Simon Stephens is perfect for Key Stages 3 and 4. Featuring the play script from the Modern Plays edition but with the language adjusted for school use*, this edition includes a wealth of classroom activities for the English and drama classrooms. Christopher, fifteen years old, stands beside Mrs Shears's dead dog. It has been speared with a garden fork, it is seven minutes after midnight, and Christopher is under suspicion. He records each fact in the book he is writing to solve the mystery of who murdered Wellington. He has an extraordinary brain and is exceptional at maths, but he is ill-equipped to interpret everyday life. He has never ventured alone beyond the end of his road, he detests being touched and he distrusts strangers. But Christopher's detective work, forbidden by his father, takes him on a frightening journey that turns his world upside-down. This educational edition in Methuen Drama's Critical Scripts series has been prepared by national Drama in Secondary English experts Ruth Moore and Paul Bunyan. Building on a decade of highly effective work and publications endorsed by national organisations and supported by teachers and consultants across Britain, each book in the series: Simon Stephens's adaptation of Mark Haddon's bestselling, award-winning novel, The Curious Incident of the Dog in the Night-Time offers a richly theatrical exploration of this touching and bleakly humorous tale. * The instances of stronger language have been tempered in this edition specifically for school use. Teachers may still wish to satisfy themselves that it is suited to the age of their pupils.
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