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Self-taught photographer Hugh Mangum was born in 1877 in Durham, North Carolina, as its burgeoning tobacco economy put the frontier-like boomtown on the map. As an itinerant portraitist working primarily in North Carolina and Virginia during the rise of Jim Crow, Mangum welcomed into his temporary studios a clientele that was both racially and economically diverse. After his death in 1922, his glass plate negatives remained stored in his darkroom, a tobacco barn, for fifty years. Slated for demolition in the 1970s, the barn was saved at the last moment--and with it, this surprising and unparalleled document of life at the turn of the twentieth century, a turbulent time in the history of the American South. Hugh Mangum's multiple-image, glass plate negatives reveal the open-door policy of his studio to show us lives marked both by notable affluence and hard work, all imbued with a strong sense of individuality, self-creation, and often joy. Seen and experienced in the present, the portraits hint at unexpected relationships and histories and also confirm how historical photographs have the power to subvert familiar narratives. Mangum's photographs are not only images; they are objects that have survived a history of their own and exist within the larger political and cultural history of the American South, demonstrating the unpredictable alchemy that often characterizes the best art--its ability over time to evolve with and absorb life and meaning beyond the intentions or expectations of the artist.
Clambering down slippery rocks to a swimming hole. Ducking the plume of smoke from a barbecue grill. Wishing for a breeze in a too-small dome tent. Scanning the sky for rain from a postage-stamp backyard. It is in these small moments of action—and inaction—that Justin Kimball captures our everyday attempts to relax. Indeed, one might argue that the events depicted are everyday life. Kimball’s compelling photographs depict ordinary people—parents and teens, grandparents and kids—in landscapes of leisure. These are not the exclusive resorts and white sand beaches of the affluent; rather, they are the parks, campgrounds, and fishing piers where most Americans vacation. They are natural landscapes—inviting, green, and sometimes beautiful—but at the same time they are imperfect—muddy, crowded, and partially paved. There is nothing idyllic about these vacation spots; indeed, Kimball’s photographs make clear that daily life can never be fully left behind. The people in his pictures, though momentarily transformed by cascading water or the shade of towering trees, remain enmeshed in ties of family and obligation, shadowed by thoughts of home. It is Kimball’s particular genius to isolate these moments between duty and pleasure. Where We Find Ourselves enables viewers to identify with—and participate in—this bittersweet aspect of American leisure and the ambiguous contemporary relationship between people and nature.
Book Two in The New Kind of Christian Trilogy The Story We Find Ourselves In is the sequel to Brian D. McLaren's award-winning book A New Kind of Christian. His witty and wise characters take on difficult, faith-busting themes--from evolution and evangelism to death and the meaning of life--and reveal that the answers to life's pressing spiritual questions often come from the most unlikely sources. Dan and Neo (and some new characters as well) invite reflection on the story we find ourselves in--that is, the narrative of God's presence and meaning in the world now and in the future.
An easy to understand overview of the process of psychoanalysis with illustrative examples.
Does the world we inhabit offer us hospitality or indifference? This question is central to the spiritual literature of all cultures. In We Find Ourselves Put to the Test James Crooks returns to the Bible’s book of Job to explore the enduring relevance of that question and its philosophical dimensions. Beginning with the puzzle of Job’s famous stoicism and nihilism in the face of loss, Crooks explores the contradictions of suffering as dramatized in the dialogue between Job and his friends. How is it that the friends’ attempt to comfort Job with a rational explanation of his misfortune devolves seamlessly into victim blaming? How is it that Job’s own renunciation of life at the nadir of his pain converts into an intellectual patience that outlasts the advocates of rational explanation? We Find Ourselves Put to the Test gives a portrait of the suffering protagonist looking into the heart of a creation that is, by necessity, both indifferent and hospitable. A philosophical exploration of one of the most enigmatic books in the Bible, We Find Ourselves Put to the Test goes beyond critical interpretation and suggests a way of reading the book of Job that is animated by a consideration of the reader’s narratives and communities, and the limits of his or her own understanding.
Stories and poems from over 30 UK based writers of the Global Majority, from African, Asian, Middle Eastern, Carribean, South American, Chinese and Malay communities write about maps and mapping. Stories and poems of finding oneself and getting lost, colonialism and diaspora, childhood exploration and adult homecoming. Stories and Poems by: Alexander Williams, Alireza Abiz, Amanda Addison, Ambrose Musiyiwa, Anita Goveas, Be Manzini, Benson Egwuonwu, Catherine Okoronkwo, Crystal Koo, Dean Atta, Des Mannay, Désirée Reynolds, Dipika Mummery, Emily Abdeni-Holman, Farhana Khalique, Gita Ralleigh, Kavita A Jindal, L Kiew, Lesley Kerr, Lorraine Dixon, Lorraine Mighty, Malka Al-Haddad, Mallika Khan, Marina Sànchez, Marka Rifat, Meng Qiu, Mimi Yusuf, Nasim Rebecca Asl, Ngoma Bishop, Nikita Aashi Chadha, Oluwaseun Olayiwola, P.A.Bitez, Rachael Li Ming Chong, Rhiya Pau, Rick Dove, Sami Ibrahim, Sandra Nimako-Boatey, Yvie Holder, Z.R. Ghani
Photography has transformed the way we picture ourselves. Although photographs seem to "prove" our existence at a given point in time, they also demonstrate the impossibility of framing our multiple and fragmented selves. As Linda Haverty Rugg convincingly shows, photography's double take on self-image mirrors the concerns of autobiographers, who see the self as simultaneously divided (in observing/being) and unified by the autobiographical act. Rugg tracks photography's impact on the formation of self-image through the study of four literary autobiographers concerned with the transformative power of photography. Obsessed with self-image, Mark Twain and August Strindberg both attempted (unsuccessfully) to integrate photographs into their autobiographies. While Twain encouraged photographers, he was wary of fakery and kept a fierce watch on the distribution of his photographic image. Strindberg, believing that photographs had occult power, preferred to photograph himself. Because of their experiences under National Socialism, Walter Benjamin and Christa Wolf feared the dangerously objectifying power of photographs and omitted them from their autobiographical writings. Yet Benjamin used them in his photographic conception of history, which had its testing ground in his often-ignored Berliner Kindheit um 1900. And Christa Wolf's narrator in Patterns of Childhood attempts to reclaim her childhood from the Nazis by reconstructing mental images of lost family photographs. Confronted with multiple and conflicting images of themselves, all four of these writers are torn between the knowledge that texts, photographs, and indeed selves are haunted by undecidability and the desire for the returned glance of a single self.
After a humiliating scandal, a young writer flees to the West Coast, where she is drawn into the morally ambiguous orbit of a charismatic filmmaker and the teenage girls who are her next subjects. FINALIST FOR THE LAMBDA LITERARY AWARD • ONE OF BUZZFEED’S BEST BOOKS OF THE YEAR • “A blistering story about the costs of creating art.”—O: The Oprah Magazine Not too long ago, Cass was a promising young playwright in New York, hailed as “a fierce new voice” and “queer, feminist, and ready to spill the tea.” But at the height of all this attention, Cass finds herself at the center of a searing public shaming, and flees to Los Angeles to escape—and reinvent herself. There she meets her next-door neighbor Caroline, a magnetic filmmaker on the rise, as well as the pack of teenage girls who hang around her house. They are the subjects of Caroline’s next semidocumentary movie, which follows the girls’ clandestine activity: a Fight Club inspired by the violent classic. As Cass is drawn into the film’s orbit, she is awed by Caroline’s ambition and confidence. But over time, she becomes troubled by how deeply Caroline is manipulating the teens in the name of art—especially as the consequences become increasingly disturbing. With her past proving hard to shake and her future one she’s no longer sure she wants, Cass is forced to reckon with her own ambitions and confront what she has come to believe about the steep price of success.
Find freedom and healing from painful memories and relational struggles and learn how your past has uniquely prepared you to experience more joy. Tragedy and pain inevitably touch our lives in some way. We long to feel whole, but more often than not, the way we've learned to deal with our wounds pushes us away from the very restoration we need most. Renowned psychologist Dr. Dan Allender and counselor and teacher Cathy Loerzel present a life-changing process of true connection and healing with ourselves, God, and others. With a clear, biblically trustworthy method, Allender and Loerzel walk you through a journey of profound inner transformation--from the shame and hurt of old emotional wounds to true freedom and healing. Drawn from modern research and their pioneering work at The Allender Center, they will help you identify your core trauma in one of the three outcast archetypes--the widow, orphan, or stranger--and chart your path of growth into the God-given roles of priest, prophet, or leader. This book will help you learn: What to do about feeling out-of-place and directionless How your coping mechanisms create a false sense of health How to embrace your divine calling and find lasting reconciliation How your heart wounds are your unique invitation to true strength and purpose. Your past pain does not dictate your life. Answer the call to healing and discover your life's beautiful story and a future of hope and freedom.
Academic philosophy may have lost its audience, but the traditional subjects of philosophy—love, death, justice, knowledge, and faith—remain as compelling as ever. To reach a new generation, Paul W. Kahn argues that philosophy must take up these fundamental concerns as we find them in contemporary culture. He demonstrates how this can be achieved through a turn to popular film. Discussing such well-known movies as Forrest Gump (1994), The American President (1995), The Matrix (1999), Memento (2000), The History of Violence (2005), Gran Torino (2008), The Dark Knight (2008), The Road (2009), and Avatar (2009), Kahn explores powerful archetypes and their hold on us. His inquiry proceeds in two parts. First, he uses film to explore the nature of action and interpretation, arguing that narrative is the critical concept for understanding both. Second, he explores the narratives of politics, family, and faith as they appear in popular films. Engaging with genres as diverse as romantic comedy, slasher film, and pornography, Kahn explores the social imaginary through which we create and maintain a meaningful world. He finds in popular films a new setting for a philosophical inquiry into the timeless themes of sacrifice, innocence, rebirth, law, and love.