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Sorrow Built a Bridge: Friendship and AIDS chronicles Daniel Berrigan's work with people with AIDS during the 1980s at St. Vincent's Hospital in New York City. For decades Berrigan protested war and nuclear weapons. Then in the early 1980s he also began to minister to those dying of cancer. When AIDS exploded in New York, he offered to accompany the dying at St. Vincent's, one of the first and best care facilities in the nation for people with AIDS. This account tells of the suffering of those with AIDS, an epidemic which now afflicts millions around the globe. It also shows a compassionate Christian response to such suffering. In the process, Berrigan once again teaches us how to make peace. I list myself among the many admirers of Father Daniel Berrigan. His writings are always poetic and inspirational, his message ever timely and beneficial. Sorrow Built a Bridge is no exception. Father Dan has put a human face on AIDS, the malady which has reached epidemic proportions. He recounts here his own personal journey and ministry with fourteen specific persons for whom 'death was given a royal welcome.' He does not dwell on the causes of AIDS nor does he pass judgment on its victims doomed to 'atrocious suffering.' Father Dan gives meaning to his own experience by choosing and reflecting on selected scripture passages. He also connects his encounters with the deaths of those who were once 'young and vigorous' with his own peacemaking. In both cases, 'dreams turn into nightmares,' 'old hatreds don new fatigues' and 'immunity systems break down both in a person and in a nation.' This book is a special gift to those committed to compassionate care for persons with AIDS. Bishop Walter F. Sullivan (from the Foreword)
Vol. 1. A-F, Vol. 2. G-O, Vol. 3. P-Z modern period.
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This two-volume set examines women's contributions to religious and moral development in America, covering individual women, their faith-related organizations, and women's roles and experiences in the broader social and cultural contexts of their times. This second edition of Encyclopedia of American Women and Religion provides updated and expanded information from historians and other scholars of religion, covering new issues in religion to better describe and document women's roles within religious groups. For instance, the term "evangelical feminism" is one newly defined aspect of women's involvement in religious activism. Changes are constantly occurring within the many religious faiths and denominations in America, particularly as women strive to gain positions within religious hierarchies that previously were exclusive to men and rise within their denominations to become theologians, church leaders, and bishops. The entries examine the roles that American women have played in mainstream religious denominations, small religious sects, and non-traditional practices such as witchcraft, as well as in groups that question religious beliefs, including agnostics and atheists. A section containing primary documents gives readers a firsthand look at matters of concern to religious women and their organizations. Many of these documents are the writings of women who merit entries within the encyclopedia. Readers will gain an awareness of women's contributions to religious culture in America, from the colonial era to the present day, and better understand the many challenges that women have faced to achieve success in their religion-related endeavors.
Women have been writing in the Catholic tradition since early medieval times, yet no single volume has brought together critical evaluations of their works until now. The first reference of its kind, Catholic Women Writers provides entries on 64 Catholic women writers from around the world and across the centuries. Each of the entries is written by an expert contributor and includes a biography of the author; a critical discussion of her works, especially her Catholic and women's themes; an overview of her critical reception; and a bibliography of primary and secondary sources. Authors writing in all genres, including fiction, autobiography, poetry, children's literature, and essays, are represented. The entries give special attention to the authors' use of Catholic themes, structures, traditions, culture, and spirituality. The writers surveyed range from Doctors of the Church to mystics and visionaries, to those who employ Catholic themes primarily in historical and cultural contexts, to those who critique the tradition. An introductory essay places the writers within the historical and literary contexts of women's writing in the Catholic tradition, and the volume closes with a selected, general bibliography.
Kane explores the role of religious identity in Boston in the years 1900-1920, arguing that Catholicism was a central integrating force among different class and ethnic groups. She traces the effect of changing class status on religious identity and solidarity, and she delineates the social and cultural meaning of Catholicism in a city where Yankee Protestant nativism persisted even as its hegemony was in decline.
This project is made possible through support from the Terra Foundation for American Art. When Elizabeth Cady Stanton penned the Declaration of Sentiments for the first women’s rights convention, held in Seneca Falls, New York, in 1848, she unleashed a powerful force in American society. In A Sisterhood of Sculptors, Melissa Dabakis outlines the conditions under which a group of American women artists adopted this egalitarian view of society and negotiated the gendered terrain of artistic production at home and abroad. Between 1850 and 1876, a community of talented women sought creative refuge in Rome and developed successful professional careers as sculptors. Some of these women have become well known in art-historical circles: Harriet Hosmer, Edmonia Lewis, Anne Whitney, and Vinnie Ream. The reputations of others have remained, until now, buried in the historical record: Emma Stebbins, Margaret Foley, Sarah Fisher Ames, and Louisa Lander. At midcentury, they were among the first women artists to attain professional stature in the American art world while achieving international fame in Rome, London, and other cosmopolitan European cities. In their invention of modern womanhood, they served as models for a younger generation of women who adopted artistic careers in unprecedented numbers in the years following the Civil War. At its core, A Sisterhood of Sculptors is concerned with the gendered nature of creativity and expatriation. Taking guidance from feminist theory, cultural geography, and expatriate and postcolonial studies, Dabakis provides a detailed investigation of the historical phenomenon of women’s artistic lives in Rome in the mid-nineteenth century. As an interdisciplinary examination of femininity and creativity, it provides models for viewing and interpreting nineteenth-century sculpture and for analyzing the gendered status of the artistic profession.