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While we acknowledge that all expressions of liberation theology are not identical, we must protest very strongly against the false divisions that some make: between black theology in South Africa and black theology in the United States, between black theology and African theology, and between black theology and Latin American liberation theology. But moving away from the illusioned universality of western theology to the contextuality of liberation theology is a risky business; one that cannot be done innocently. In the search for theological and human authenticity in its own situation, black theology does not stand alone. It is but one expression of this search going on within many different contexts. Until now, the Christian church had chosen to move through history with a bland kind of innocence, hiding the painful truths of oppression behind a facade of myths and real or imagined anxieties. This is no longer possible. The oppressed who believe in God, the Father of Jesus Christ, no longer want to believe in the myths created to subjugate them. It is no longer possible to innocently accept history "as it happens," silently hoping that God would take the responsibility for human failure. The theology of liberation spells out this realization. For the Christian church it constitutes, in no uncertain terms, farewell to innocence.
Farewell Anatolia is a tale of paradise lost and of shattered innocence; a tragic fresco of the fall of Hellenism in Asia Minor; a stinging indictment of Great Power politics, oil-lust and corruption. Dido Soteriou's novel - a perennial best-seller in Greece since it first appeared in 1962 - tells the story of Manolis Axiotis, a poor but resourceful villager born near the ancient ruins of Ephesus. Axiotis is a fictional protagonist and eyewitness to an authentic nightmare: Greece's "Asia Minor Catastrophe," the death or expulsion of two million Greeks from Turkey by Kemal Attaturk's revolutionary forces in the late summer of 1922. Manolis Axiotis' chronicle of personal fortitude, betrayed hope, and defeat resonates with the greater tragedy of two nations: Greece, vanquished and humiliated; Turkey, bloodily victorious. Two neighbours linked by bonds of culture and history yet diminished by mutual greed, cruelty and bloodshed.
"Innocence's Farewell" is a spellbinding coming-of-age tale that navigates the delicate balance between love, redemption, and the echoes of the past. Set in the enchanting town of Willowbrook, Emma and Ethan's journey is a tapestry woven with secrets, whispered stories, and the power of second chances. As they confront shadows of doubt, unveil hidden truths, and explore the depths of forgiveness, their love story becomes intertwined with the town's rich history, creating a legacy that echoes through time. With lush prose and suspenseful twists, this captivating novel explores the enduring strength of love and the transformative magic of self-discovery.
The search for justice, beyond the basic political understanding, is profoundly theological and ethical. In this work, Dr. Basilius M. Kasera analyses the meaning of justice in post-apartheid Namibia from a biblical perspective. He argues that notions of justice carry no meaning unless they emanate from the community of the affected. Every group of people, by virtue of being God’s image-bearers, are able to assess their own context and provide befitting solutions. However this kind of agency has not been afforded to the post-apartheid Namibian society, which continues to operate on borrowed models of justice. While extrapolating on Allan Boesak’s beneficial theological concepts of justice, Dr. Kasera encourages theologians and Christians at large to participate in the creation of meaningful, effective, and transformative policies, programmes, practices, systems, and justice institutions.
As the field of Cultural History grows in prominence in the academic world, an understanding of the history of culture has become vital to scholars across disciplines. The Oxford Handbook of the New Cultural History of Music cultivates a return to the fundamental premises of cultural history in the cutting-edge work of musicologists concerned with cultural history and historians who deal with music. In this volume, noted academics from both of these disciplines illustrate the continuing endeavor of cultural history to grasp the realms of human experience, understanding, and communication as they are manifest or expressed symbolically through various layers of culture and in many forms of art. The Oxford Handbook of the New Cultural History of Music fosters and reflects a sustained dialogue about their shared goals and techniques, rejuvenating their work with new insights into the field itself.