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The author's personal story of life and death and grief and the lessons that the survivors learned. This inspiring work chronicles Sally Miller's thirty-year journey of grief and recovery.
How do you find hope in hard times? Learn not only how to survive the difficult seasons, but to live a full life in the midst of them and beyond. Grounded in God's constancy and rooted in eternal hope, Nouwen guides you towards the kind of life that you can dance to—even through the darkest night. Deeply comforting and profoundly realistic, Turn My Mourning into Dancing discusses five movements we experience during hard times: From Our Little Selves to a Larger World From Holding Tight to Letting Go From Fatalism to Hope From Manipulation to Love From a Fearful Death to a Joyous Life Healing begins with taking our pain out of its toxic isolation and seeing our sufferings in communion with all humanity, and all creation. Nouwen teaches us that our lives participate in something much larger. Turn My Mourning into Dancing is a must read for: Those seeking growth and insight on the struggles of life Anyone going through the grief process and searching for real solutions Those who have experienced a loss, betrayal, or hard times Everyone grieves differently. It is a process, not a science experiment. Mourning shouldn’t last forever. Do you want the kind of life that allows you to dance even in the middle of the darkest night? Get the answers and find hope within your hard times.
There is no doubt that the death of a loved one has a profound - and unpredictable - effect on the lives of those left behind. Mourning is the price we pay for love. But how does anyone survive those first weeks, months, and even years after a death, and then eventually return to normal life? When her daughter's fiancé died suddenly, Katherine Ashenburg found herself drawn into the world of mourning customs. Finding little comfort in the stripped-down North American approach, she sought solace, and shaped the core of this much-praised book, by exploring the rich traditions that have sustained mourners in cultures around the world and across centuries. Intertwining anecdotes from past and present with her own story, Ashenburg uncovers the wisdom and creativity embedded in mourning rituals and their value in rebuilding those unravelled by loss. Somehow, as Ashenburg so deftly reveals, we find strength and go on living. With a new afterword by the author.
Born out of the experiences of hundreds of thousands of women who Raechel and Amanda have walked alongside as they walk with the Lord, She Reads Truth is the message that will help you understand the place of God's Word in your life.
Dance Dance Dance—a follow-up to A Wild Sheep Chase—is a tense, poignant, and often hilarious ride through Murakami’s Japan, a place where everything that is not up for sale is up for grabs. As Murakami’s nameless protagonist searches for a mysteriously vanished girlfriend, he is plunged into a wind tunnel of sexual violence and metaphysical dread. In this propulsive novel, featuring a shabby but oracular Sheep Man, one of the most idiosyncratically brilliant writers at work today fuses together science fiction, the hardboiled thriller, and white-hot satire.
A man is killed five months after his funeral, in a tale by “one of the greatest mid-20th-century practitioners of the detective novel” (Alexander McCall Smith). Private detective Albert Campion is summoned to the village of Kepesake to investigate a particularly distasteful death. The body turns out to be that of Pig Peters, freshly killed five months after his own funeral. Soon other corpses start to turn up, just as Peters’s body goes missing. It takes all Campion’s coolly incisive powers of detection to unravel the crime. The Case of the Late Pig is, uniquely, narrated by Campion himself. In Allingham’s inimitable style, high drama sits neatly beside pitch-perfect black comedy. A heady mix of murder, romance, and the urbane detective's own unglamorous past make this an Allingham mystery not to be missed. “My very favourite of the four Queens of Crime is Allingham.”—J. K. Rowling “Margery Allingham deserves to be rediscovered.”—P.D. James
Love Dances: Loss and Mourning in Intercultural Collaboration explores global relationality within the realm of intercultural collaboration in contemporary dance. Author SanSan Kwan looks specifically at duets, focusing on "East" "West" pairings, and how dance artists from different cultural and movement backgrounds -Asia, the Asian diaspora, Europe, and the United States; trained in contemporary dance, hip hop, flamenco, Thai classical dance, kabuki, and butoh - find ways to collaborate. Kwan acknowledges the forces of dissension, prejudice, and violence present in any contact zone, but ultimately asserts that choreographic invention across difference can be an act of love in the face of loss and serve as a model for difficult, imaginative, compassionate global affiliation. Love Dances contends that the practice and performance of dance serves as a revelatory site for working across culture. Body-to-body interaction on the stage carries the potential to model everyday encounters across difference in the world.
Anthropologists have long known that different cultures give expression to their symbol systems through external mediums such as food and clothing, but they have not recognized as readily that cultures also mold emotional life to fit particular patterns of meaning. This prejudice against the role of behaviors in shaping the emotional and cognitive life is especially strong in the study of religion. Gary Anderson's study reveals that, in the Israelite culture (and later, the Jewish culture), mourning and joy as emotional experiences have visible behavioral components for both the individual and the community at large. The best evidence of this can be found in rabbinical texts that prescribe behaviors appropriate to joy and determine when this ritual state supersedes that of mourning. For example, on religious feast days, mourning is forbidden and joy is prescribed. Mourning cannot resume until after the festival. The terms "mourning" and "joy" so employed do not refer to simple emotional states, but rather constitute a discrete set of ritual behaviors. In fact, the types of discrete behaviors that constitute joy (eating, drinking, festal song, anointing with oil, festive attire, sexual relations) all have exact anti-types in the ritual of mourning (fasting, dirges, putting ashes on the head, rending one's garments or putting on sackcloth, sexual continence). Anderson shows that it is not only the rabbinical texts that use the terms "mourning" and "joy" in this way; rabbinic tradition is simply heir to a much older tradition, as witnessed in biblical and other ancient Near Eastern narratives such as the Gilgamesh Epic.
Sharing her personal story with raw authenticity, Jennifer Ohman-Rodriguez reaches into people's lives and offers those dealing with seemingly crippling trauma a path toward healing as she herself found it--through both professional help and deep, authentic faith in God.
The days of hunting and dancing around the fire are still in our cells, along with ancient world views. Alchemy was not born as a science for its own sake, as we know it today, but it bloomed from the conquest of matter through fire and guarded the initiatory secret that unites humanity with sky. In "Dance and Alchemy" Damiano Fina takes dance back to its origins to illuminate its future, without neglecting the history of performance at the turn of the 20th and 21st centuries. According to the author, today it is necessary to bring the performing arts back to the sacred and ritual: "There is an immeasurable distance between those who participate in the sacred ritual and those who, instead, enjoy as an aesthete the beauty or horror of scenery, music, dance and opera. Not only is it fundamental to bring the performance back to its ritual origins, but it is also necessary to look for a way to restore the relationship with the sacred in contemporary society, which has desacralized its festivities, its rites of passage and its relationship with the universe." In order to restore this link between the sacred and the profane, art must take an interest in pedagogy. Thus the FÜYA method was born, because dance and performance are educational.