Hope and Healing in Urban Education proposes a new movement of healing justice to repair the damage done by the erosion of hope resulting from structural violence in urban communities. Drawing on ethnographic case studies from around the country, this book chronicles how teacher activists employ healing strategies in stressed schools and community organizations, and work to reverse negative impacts on academic achievement and civic engagement, supporting their students to become powerful civic actors. The book argues that healing a community is a form of political action, and emphasizes the need to place healing and hope at the center of our educational and political strategies. At once a bold, revealing, and nuanced look at troubled urban communities as well as the teacher activists and community members working to reverse the damage done by generations of oppression, Hope and Healing in Urban Education examines how social change can be enacted from within to restore a sense of hope to besieged communities and counteract the effects of poverty, violence, and hopeness.
From the beginning, American culture was steeped in the language of theology. The arts, in particular, were inextricably linked with religion. As author Gene Edward Veith shows in Painters of Faith, belief in the spiritual power of art provided the basis for America’s first major artistic movement, the Hudson River School. The personal faith of Thomas Cole, Asher B. Durand, Jasper Cropsey, Frederic Church, and the other Hudson River School painters inspired their transcendent landscapes. In this fascinating and beautifully illustrated work, Veith explores that faith and the crucial role it played in their artistic creations. Aesthetics, he shows, could not be separated from theology. In reconstructing the worldview of the artists as well as of much of the American public in the nineteenth century, Veith delves into the writings of Martin Luther, John Calvin, and the American Puritan preacher Jonathan Edwards to find the roots of a Protestant aesthetic. While Protestantism is not ordinarily associated with a strong artistic tradition, Veith reveals how Protestant Christianity in nineteenth-century America was indeed a catalyst for the arts. In fact, the clergy were among the most ardent promoters of the arts in the new republic, and theological journals continually carried on discussions about art. The Hudson River School artists, in particular, expressed ambitious themes, employing narrative, symbolism, and allegory to convey moral and spiritual truths. Complete with forty-two full-color illustrations, Painters of Faith is an in-depth examination of the artistic and theological context in which these painters worked—and a gripping look at the cultural development of early America.
Coarse Witchcraft is a squint-eyed look at what passes for Craft in many modern groups and just how much of the teaching has been dumbed down so that everyone can acquire rank and have a crack at the priesthood . This blind grope for titles, rank and public acclaim have replaced the enlightened quest for genuine wisdom and ability, while the old Witch-magic is practised by fewer and fewer of those who would call themselves Witches. There are also those who insist on being recognised as instant Adepts in a system that takes years of study and preparation but book-learning is not enough as many have found to their cost when confronted by real Old Crafters. Coarse Witchcraft is a no-holds-barred view of what is going on today in many Craft circles. Hopefully, those who read this book will laugh, and realise that it is possible to mix mirth and magic, while still retaining respect for oneself and the Old Ways."
THE LAST THING YOU WANT TO BE WHEN THE WORLD ENDS IS A FREE MAN FIRST IN THE EXPLOSIVE OUTPOST SEASON ONE Brennick Maximum Security Prison, one of the most dangerous places on earth. Populated with fifteen hundred of the most viscous offenders in the western hemisphere. The guards watch their every move, weapons ready. The Warden rules with an iron fist. But they're about to find that the real threat is coming. It's here. And it's from outside the walls...
Jacque and Liza were once deeply in love. They shared many happy moments until she discovered she was pregnant. Jacque had never wanted to have a child and always told her, "What I can give you is passion and friendship, no more than that." Therefore, she decided to raise the child alone and left Jacque without telling him anything. Three years have passed since then, when Liza unexpectedly meets him again. Knowing nothing about what happened to her 3 years ago, Jacque tries to seduce her, full of passion and irresistible charm. How can Liza keep hiding their child from him?