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When You Can't Go Home tells the story refugees and their families alongside breath-taking portraits by artist, Karisa Keasey. For every book sold, Karisa will donate 50% of the profits to World Relief to help in their efforts with refugees. In addition to raising funds, awareness and compassion for refugees, Karisa hopes that this book will inspire readers to use their own unique gifts to make a positive impact for others in their own communities.
The human body is a likeness of God, its design revealing insights into the church, the “body of Christ” For bestselling author Philip Yancey, the late Dr. Paul Brand—the brilliant hand surgeon who devoted his life to the poorest people of India and Louisiana—was also a likeness of God, living the kind of Christian life that exemplified what God must have had in mind. In the Likeness of God combines the complete texts of Fearfully and Wonderfully Made and In His Image—both Gold Medallion Award–winners which together have sold more than half a million copies—into one volume. Also included for the first time are eight beautiful litanies of praise on the human body by Dr. Brand. In Fearfully and Wonderfully Made, Dr. Paul Brand and bestselling writer Philip Yancey explore the wonder of the human body and uncover the eternal statements that God has made in the very structure of our bodies. Their remarkable journey through inner space—the world of cells, systems, and chemistry—points to a still deeper unseen reality of God’s work in our lives. In His Image takes up where the first book leaves off. In five sections—Image, Blood, Head, Spirit, and Pain—the authors unlock the remarkable living lessons contained in our physical makeup.
A follow-up to In the Woods finds a traumatized detective Cassie Maddox struggling in her career and relationship with Sam O'Neill while investigating the unsettling murder of a young woman whose name matches an alias Cassie once had used as an undercover officer. 50,000 first printing.
The Likeness is a close ethnographic study of subjectivity in the former Yugoslav republic of Slovenia. In this highly imaginative work, the author argues that much of what matters in Slovenia plays out on surfaces—of people and things, systems and locations—rendering the complexity of expression external and legible, but rarely unique or original. Here likenesses are everywhere in bloom and powerfully deployed. Moving blithely from Slovenia’s most famous thinkers to its most confounding artists, from grammatical categories of number to the particularities of history, The Likeness explores alternative modes of self-expression as postsocialist Slovenia gains visibility on the world stage.
The concept of likeness to truth, like that of truth itself, is fundamental to a realist conception of inquiry. To demonstrate this we need only make two rather modest aim of an inquiry, as an inquiry, is realist assumptions: the truth doctrine (that the the truth of some matter) and the progress doctrine (that one false theory may realise this aim better than another). Together these yield the conclusion that a false theory may be more truthlike, or closer to the truth, than another. It is the aim of this book to give a rigorous philosophical analysis of the concept of likeness to truth, and to examine the consequences, some of them no doubt surprising to those who have been unduly impressed by the (admittedly important) true/false dichotomy. Truthlikeness is not only a requirement of a particular philosophical outlook, it is as deeply embedded in common sense as the concept of truth. Everyone seems to be capable of grading various propositions, in different (hypothetical) situations, according to their closeness to the truth in those situations. And (if my experience is anything to go by) there is remarkable unanimity on these pretheoretical judge ments. This is not proof that there is a single coherent concept underlying these judgements. The whole point of engaging in philosophical analysis is to make this claim plausible.
In the essay, Ferguson discusses the rise and fall of the pictorial in photography in the early 20th century and how the spontaneous style of street photography came to dominate the medium, before looking at the return of considered composition from the late 1970s onward. Often quoting the artists in the exhibition, and describing their very deliberate processes for making pictures, Ferguson traces this tendency in contemporary photography. He articulates the conceptual goals of the work and positions in a wider context.
Documents significant and pioneering exhibitions that took place between 1962 and 2002.
Described by his contemporaries as Daguerre's most dedicated follower, Thomas M. Easterly did most of his work in the relative obscurity of St. Louis. This lavishly illustrated account of his twenty-seven-year career established him as a new master in the ranks of nineteenth-century photographers. It will be an essential addition to the libraries of scholars and collectors. Easterly's subjects range far beyond the traditional daguerrean portrait. Of his surviving inventory of over 600 plates in the collection of the Missouri Historical Society, over 140 are views of St. Louis, his native New England, and the Niagara Falls region of New York. Three series of American Indian portraits constitute the earliest dated photographic record of Plains tribal members. A series of studio portraits of ordinary people and celebrities demonstrate a remarkable mastery of technique placing Easterly decades ahead of his time.
Both highly praised and intensely controversial, this brilliant book produces dramatic evidence that at one time the Catholic and Eastern Orthodox churches not only sanctioned unions between partners of the same sex, but sanctified them--in ceremonies strikingly similar to heterosexual marriage ceremonies.