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Friday 13 March, 2015: Category 5 Tropical Cyclone Pam makes landfall with devastating consequences. Vanuatu is bruised but not broken. Reeling from the loss of livelihood and struggling to meet basic human needs, people start to reassemble their lives.Cathryn is an NGO worker from New Zealand who has a ruined home, a teenage son and a Ni-Vanuatu boyfriend she hasn't heard from since the phone lines went dead. Faia is a community organiser, a radio journalist and a survivor who fights for women to be heard. Together and apart they navigate their places in the complex cultural and social systems of Vanuatu, where tradition clashes with modern urban life.Sado is a novel about relationships &– between friends and family, across cultures and communities, and also with the past. When a terrible accident occurs, all of these relationships are called into question.'This evocative novel draws you into its richly described world with great skill and sensitivity. The writing is exquisite and nuanced, and the questions it so subtly raises will linger in your mind. Highly recommended.' —Mandy Hager
Information about Nikō in English has been scarce outside of denominational sources and for the large part in relation to the apparent contrasts with his peer Byakuren Ajari Nikkō or the Hagii family, that later chose to follow Nikō due disagreements around doctrinal matters. This research paper explores the two lineages of Mobara, his hometown and Minobu, where Nikō resided for a long period. The mandalas authored by Nikō and those attributed to him, his network of connections, family background and endeavors might help to reconsider Nikō's career within a broader perspective.
Based on Plomer's own experiences, this sensitive study of the meeting of East and West takes place in the Tokyo of the 1920s. It tells the story of Vincent Lucas, a naive young Englishman `with a little money and an ambition to become a painter', who is introduced to the life and art of Japan by Sado Masaji, an idealistic university student with a captivating air of melancholy.
This open-ended anthology is a journey into the very canon that Mary Daly has argued to be patriarchal and demeaning to women. This volume deauthorizes the official canon of Western philosophy and disrupts a related story told by some feminists who claim that Daly&’s work is unworthy of re-reading because it contains fatal errors. The editors and contributors attempt to prove that Mary Daly is located in the Western intellectual tradition. Daly may be highly critical of conventional Western epistemological and theological traditions, but she nevertheless appropriates themes &“out-of-context&” for the building of her own systematic philosophy. The following are just a few of the many themes explored in this volume: &• the question of subjectivity understood as an ongoing process of be-coming &• the ambiguity of the need for feminists of colonial nations to speak out about violence against women in other parts of the world while that speaking carries with it the stamp of a colonial location &• the territoriality of lesbian and women&’s space &• the theological dimensions of twentieth-century Western philosophy. Contributors are Wanda Warren Berry, Purushottama Bilimoria, Debra Campbell, Molly Dragiewicz, Frances Gray, Amber L. Katherine, AnaLouise Keating, Anne-Marie Korte, Mar&ía Lugones, Geraldine Moane, Sheilagh A. Mogford, Laurel C. Schneider, Renuka Sharma, and Marja Suhonen.
This book introduces important contributions in the humanities by a select group of traditional and modern Korean women, from the 15th through the 20th centuries. The literary and artistic works of these women are considered Korean classics, and the featured artists and writers range from a queen, to a courtesan, to a Buddhist nun, to unknown women of Korea. Although women's works were generally meant only to circulate among women, these creative expressions have caught the attention of literary and artistic connoisseurs. By bringing them to light, the book seeks to demonstrate how Korean women have tried to give their lives meaning over the ages through their very diverse, yet common artistic responses to the details and drama of everyday life in Confucian Korea. The stories of these women and their work give us glimpses of their personal views on culture, aesthetics, history, society, politics, morality, and more.
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