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To glimpse America's future, one needs to look no further than its college campuses. Of those institutions, none holds more clout than Yale University, the hallowed "cradle of presidents." In Sex and God at Yale, recent graduate Nathan Harden undresses perversity among the Ivy and ideology gone wild as the upper echelon of academia is mired in nothing less than a full-fledged moral crisis. Three generations ago, William F. Buckley's classic God and Man at Yale, a critique of enforced liberalism at his alma mater, became a rallying cry of the conservative movement. Today Harden reveals how a loss of purpose, borne of extreme agendas and single-minded political correctness shielded under labels of "academic freedom," subverts the goals of higher education. Harden's provocative narrative highlights the implications of the controversial Sex Week on campus and the social elitism of the Yale "naked party" phenomenon. Going beyond mere sexual expose, Sex and God at Yale pulls the sheets off of institutional licentiousness and examines how his alma mater got to a point where: • During "Sex Week" at Yale, porn producers were allowed onto campus property to give demonstrations on sexual technique—and give out samples of their products. • An art student received departmental approval—before the ensuing media attention alerted the public and Yale alumni—for an art project in which she claimed to have used the blood and tissue from repeated self-induced miscarriages. • The university became the subject of a federal investigation for allegedly creating a hostile environment for women. Much more than this, Harden examines the inherent contradictions in the partisan politicizing of higher education. What does it say when Yale seeks to distance itself from its Divinity School roots while at the same time it hires a Muslim imam with no academic credentials to instruct students? When the same school that would not allow ROTC on its campus for decades invites a former Taliban spokesperson to study at the university? Or employs a professor who praised Hamas terrorists? As Harden asks: What sort of moral leadership can we expect from Yale's presidents and CEOs of tomorrow? Will the so-called "abortion artist" be leading the National Endowment for the Arts in twenty years? Will a future president be practicing moves he or she learned during Sex Week in the closet of the Oval Office? If tyrants tell little girls they aren't allowed to go to school, will an Ivy-educated Taliban emissary be the one to deliver the message? Sex and God at Yale is required reading for the parent of any college-bound student—and for anyone concerned about the direction of higher education in America and the implications it has for young students today and the leaders of tomorrow.
In higher-ed institutions, none holds more clout than Yale University. Yet the school has become a full-fledged moral battleground. 2009 Yale graduate Harden offers a provocative account of what really goes on inside, one that will shock any parent of a college-bound student.
"For God, for country, and for Yale... in that order," William F. Buckley Jr. wrote as the dedication of his monumental work—a compendium of knowledge that still resonates within the halls of the Ivy League university that tried to cover up its political and religious bias. In 1951, a twenty-five-year-old Yale graduate published his first book, which exposed the "extraordinarily irresponsible educational attitude" that prevailed at his alma mater. The book, God and Man at Yale, rocked the academic world and catapulted its young author, William F. Buckley Jr. into the public spotlight. Now, half a century later, read the extraordinary work that began the modern conservative movement. Buckley's harsh assessment of his alma mater divulged the reality behind the institution's wholly secular education, even within the religion department and divinity school. Unabashed, one former Yale student details the importance of Christianity and heralds the modern conservative movement in his preeminent tell-all, God and Man at Yale: The Superstitions of "Academic Freedom."
If we look to the Bible for historical accounts of ancient life, we make a profound error. So contends Calum Carmichael in this original and incisive reading of some of the Hebrew Bible and New Testament’s most famous narratives. Sifting through the imaginative layers of these texts with an uncanny sensitivity and a panoptic critical eye, he unearths patterns connecting disparate passages, providing fascinating insights into how ideas were expressed, received, and transformed in the ancient Near East. Ranging from Jacob’s encounter with Leah to the marriage at Cana to Jesus’ encounter with the woman at the well, these readings demonstrate the remarkable subtlety and sophistication of the biblical views on marriage, sexuality, fertility, impurity, creation, and love.
An erudite and highly enjoyable exploration of the most intriguing of personal spaces, from Greek and Roman antiquity through today The winner of France’s prestigious Prix Femina Essai (2009), this imaginative and captivating book explores the many dimensions of the room in which we spend so much of our lives—the bedroom. Eminent cultural historian Michelle Perrot traces the evolution of the bedroom from the time of the ancient Greeks and Romans to today, examining its myriad forms and functions, from royal king’s chamber to child’s sleeping quarters to lovers’ trysting place to monk’s cell. The history of women, so eager for a room of their own, and that of prisons, where the principal cause of suffering is the lack of privacy, is interwoven with a reflection on secrecy, walls, the night and its mysteries. Drawing from a wide range of sources, including architectural and design treatises, private journals, novels, memoirs, and correspondences, Perrot’s engaging book follows the many roads that lead to the bedroom—birth, sex, illness, death—in its endeavor to expose the most intimate, nocturnal side of human history.
Traces the history of love and how it developed from its Hebraic and Greek origins to an ideal that obsesses the modern Western world, and highlights philosophers that have challenged conventional thoughts on love and happiness.
In this highly acclaimed book, one of the most prominent theologians in the world offers a theological and psychoanalytic assessment of Freud’s atheism and of its implications for current psychoanalytic practice. In the original section of the book, now entitled "God--An Infantile Illusion?,” Hans K�ng traces Freud’s views on religion and religious longing, compares Jung’s and Adler’s attitudes toward religion, shows that Freud’s arguments against the existence of God are theologically unsound, and concludes with a frank and provocative discussion of what psychoanalysis may be able to teach the Christian Church. In a new section, "Religion--The Final Taboo?,” K�ng points out that religions still plays a negligible role in the practice of psychoanalysis, despite its increasing importance in the lives of most people. Has religion replaced sex, K�ng asks, as an integral facet of human experience ignored or repressed by the very profession that seeks to enlighten? Reviews of the first edition: "This should stand as one of Dr. K�ng’s finest works.”--Edmund Fuller, Wall Street Journal "A balanced, thorough, and very readable discussion of Freud’s critique of religion... A model of the clarity, honesty, and fairness we can always expect to find in K�ng’s writings.” -John F. Haught, America "An honest, sympathetic pro-and-con assessment of specific elements of Freud’s critique by a well-known German Catholic theologian, easily accessible to the interested layperson and valuable for both theologians and psychologists.”--Library Journal "K�ng carefully, sympathetically investigates Freud’s interpretations of religion, both within his clinical theories and personal history.” -Lisa Mitchell, Los Angeles Times
In this engaging introduction to the New Testament, Professor Dale B. Martin presents a historical study of the origins of Christianity by analyzing the literature of the earliest Christian movements. Focusing mainly on the New Testament, he also considers nonbiblical Christian writings of the era. Martin begins by making a powerful case for the study of the New Testament. He next sets the Greco-Roman world in historical context and explains the place of Judaism within it. In the discussion of each New Testament book that follows, the author addresses theological themes, then emphasizes the significance of the writings as ancient literature and as sources for historical study. Throughout the volume, Martin introduces various early Christian groups and highlights the surprising variations among their versions of Christianity.
In this needed and highly anticipated new translation of the Theban plays of Sophocles, David Slavitt presents a fluid, accessible, and modern version for both newcomers to the plays and established admirers. Unpretentious and direct, Slavitt's translation preserves the innate verve and energy of the dramas, engaging the reader or audience member directly with Sophocles' great texts. Slavitt chooses to present the plays not in narrative sequence but in the order in which they were composed: Antigone, Oedipus Tyrannos, Oedipus at Colonus; he thereby underscores the fact that the story of Oedipus is one to which Sophocles returned over the course of his lifetime. This arrangement also lays bare the record of Sophocles' intellectual and artistic development. Renowned as a poet and translator, Slavitt has translated Ovid, Virgil, Aeschylus, Aristophanes, Ausonius, Prudentius, Valerius Flaccus, and Bacchylides as well as works in French, Spanish, Portuguese, and Hebrew. In this volume, he avoids personal intrusion on the texts and relies upon the theatrical machinery of the plays themselves. The result is a major contribution to the art of translation and a version of the Oedipus plays that will appeal enormously to readers, theatre directors, and actors.
A transformative study, freeing the artist from outdated art historical narratives and revealing his work as newly strange again Cézanne’s Gravity is an ambitious reassessment of the paintings of Paul Cézanne (1839–1906). Whereas previous studies have often looked at the artist’s work for its influence on his successors and on the development of abstraction, Carol Armstrong untethers it from this timeline, examining Cézanne’s painting as a phenomenological and intellectual endeavor. Armstrong uses an interdisciplinary approach to analyze Cézanne’s work, pairing the painter with artists and thinkers who came after him, including Roger Fry, Virginia Woolf, Albert Einstein, Maurice Merleau-Ponty, Rainer Maria Rilke, R. D. Laing, and Helen Frankenthaler. Through these pairings, Armstrong addresses diverse subjects that illuminate Cézanne’s painting, from the nonlinear narratives of modernist literature and the ways in which space and time act on objects, to color sensation and the schizophrenic mind. Cézanne’s Gravity attends to both the physicality of the artist’s works and the weight they bear on the history of art. This distinctive study not only invites its readers to view Cézanne’s paintings with fresh eyes but also offers a new methodology for art historical inquiry outside linear narratives, one truly fitting for our time.