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Can you have a strong personality and still be a godly wife? YES! Do you ever get the idea that being a godly wife means you need to be a mousy doormat? Be as unnoticeable as a doorknob? Or have a personality transplant? Fierce Women: The Power of a Soft Warrior smashes that idea. No matter whether you’re an extrovert or more introverted, Kimberly Wagner believes women are created to be a compelling force. You may not see yourself as beautifully fierce or even slightly strong, but what if God has placed a powerful fierceness within you, within every woman? Kim admits her fierceness became a source of conflict in her marriage, but the relationship dynamic totally changed when she discovered her fierce strengths could be used to encourage and inspire her husband. She invites you to come alongside as she takes an honest look at a destructive relationship dynamic and casts a vision for the transformation God can bring to troubled marriages. A True Woman Book; the goal of the True Woman publishing line is to encourage women to: Discover, embrace, and delight in God's divine design and mission for their lives Reflect the beauty and heart of Jesus Christ to their world Intentionally pass the baton of Truth on to the next generation Pray earnestly for an outpouring of God's Spirit in their families, churches, nation and world
Alex Ross, renowned New Yorker music critic and author of the international bestseller and Pulitzer Prize finalist The Rest Is Noise, reveals how Richard Wagner became the proving ground for modern art and politics—an aesthetic war zone where the Western world wrestled with its capacity for beauty and violence. For better or worse, Wagner is the most widely influential figure in the history of music. Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil. In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner’s many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of W.E.B. Du Bois, from O Pioneers! to Apocalypse Now. In many ways, Wagnerism tells a tragic tale. An artist who might have rivaled Shakespeare in universal reach is undone by an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of passionate discovery, urging us toward a more honest idea of how art acts in the world.
Many music lovers find Wagner's operas inexpressibly beautiful and richly satisfying, while others find them revolting, dangerous, self-indulgent, and immoral. The man who W.H. Auden once called "perhaps the greatest genius that ever lived" has inspired both greater adulation and greater loathing than any other composer. Bryan Magee presents a penetrating analysis of Wagner's work, concentrating on how his sensational and deeply erotic music uniquely expresses the repressed and highly charged contents of the psyche. He examines not only Wagner's music and detailed stage directions but also the prose works in which he formulated his ideas, as well as shedding new light on his anti-semitism and the way in which the Nazis twisted his theories to suit their own purposes. Outlining the astonishing range and depth of Wagner's influence on our culture, Magee reveals how profoundly he continues to shock and inspire musicians, poets, novelists, painters, philosophers, and politicians today.
In the aftermath of the 1992-1995 Bosnian war, the discovery of unmarked mass graves revealed Europe's worst atrocity since World War II: the genocide in the UN "safe area" of Srebrenica. To Know Where He Lies provides a powerful account of the innovative genetic technology developed to identify the eight thousand Bosnian Muslim (Bosniak) men and boys found in those graves and elsewhere, demonstrating how memory, imagination, and science come together to recover identities lost to genocide. Sarah E. Wagner explores technology's import across several areas of postwar Bosnian society—for families of the missing, the Srebrenica community, the Bosnian political leadership (including Serb and Muslim), and international aims of social repair—probing the meaning of absence itself.
This chronicle of renowned composer Richard Wagner and his descendants features “a cast of characters who are positively operatic in their histrionics” (The Guardian). Richard Wagner was many things—composer, philosopher, philanderer, failed revolutionary, and virulent anti-Semite—and his descendants have carried on his complex legacy. In his “lively and wry” history of the legendary composer and his family, biographer Jonathan Carr also offers fascinating glimpses of Franz Liszt, Friedrich Nietzsche, Arthur Schopenhauer, Arturo Toscanini, Joseph Goebbels, Hermann Göring, and Adolf Hitler—a passionate fan of the Master’s music and an adopted uncle to Wagner’s grandchildren (The New York Times). Stretching from the revolutions of 1848 to the darkest days of World War II and through to the present incarnation of Wagner’s Bayreuth Festival, The Wagner Clan is “a smart, insightful look into German history” and a family whose saga is as gripping as any opera (New York Post). “Jonathan Carr’s history is formidable . . . [A] compendious and enthralling story.” —The Economist “The grandiose life of Richard Wagner—the pronouncements on art and the German soul, the petty groveling for money and favors, the intermittently atrocious politics and intermittently glorious music—was a tough act to follow. Carr . . . follows Wagner’s descendants through three generations as they fight each other for control of the Bayreuth Festival and, at opportune times, embrace, reject or sweep under the rug their forebear’s status as Nazism’s spiritual godfather. . . . Carr’s sprightly, fluent narrative places the family in its historical and intellectual context without reducing it to the symbolic effigy it has often become.” —Publishers Weekly, starred review
Richard Wagner (1813-1883) aimed to be more than just a composer. He set out to redefine opera as a "total work of art" combining the highest aspirations of drama, poetry, the symphony, the visual arts, even religion and philosophy. Equally celebrated and vilified in his own time, Wagner continues to provoke debate today regarding his political legacy as well as his music and aesthetic theories. Wagner and His World examines his works in their intellectual and cultural contexts. Seven original essays investigate such topics as music drama in light of rituals of naming in the composer's works and the politics of genre; the role of leitmotif in Wagner's reception; the urge for extinction in Tristan und Isolde as psychology and symbol; Wagner as his own stage director; his conflicted relationship with pianist-composer Franz Liszt; the anti-French satire Eine Kapitulation in the context of the Franco-Prussian War; and responses of Jewish writers and musicians to Wagner's anti-Semitism. In addition to the editor, the contributors are Karol Berger, Leon Botstein, Lydia Goehr, Kenneth Hamilton, Katherine Syer, and Christian Thorau. This book also includes translations of essays, reviews, and memoirs by champions and detractors of Wagner; glimpses into his domestic sphere in Tribschen and Bayreuth; and all of Wagner's program notes to his own works. Introductions and annotations are provided by the editor and David Breckbill, Mary A. Cicora, James Deaville, Annegret Fauser, Steven Huebner, David Trippett, and Nicholas Vazsonyi.
These essays explore the parameters of Wagner's rich literary and architectural creations.
In this fascinating and persuasive book, intuition expert Gail Ferguson proves that intuition is a distinct sense, just like seeing or hearing, but one so unfamiliar to us that we often don't know when it's happening. Ferguson recounts her own professional experiences and scientific discoveries to show you how to develop their intuition.
A thoroughly documented evisceration of the Wagner-created-Hitler rubbish. This book presents every reliably sourced word Adolf Hitler spoke or wrote about Richard Wagner regarding issues of political philosophy and world view. The reader may be surprised to learn that Adolf Hitler said almost nothing Richard Wagner as a source of influence or inspiration. Hence the subtitle "A Very Thin Book". The entire Wagner/Hitler "thesis" rests upon fewer than a dozen bogus Hitler "quotations" that are unsourced, uncorroborated, and deceitfully propagated. This book traces the history of those "quotations" and exposes the lies, plagiarism, and chicanery employed by the authors disseminating them.