Suchergebnisse

The hope of this book is that it awakens desire to know more intimately the God who breaks through our compartmentalization and naming. While most in the West have heard God's name as almost exclusively masculine, a child growing up in Israel would have experienced the Spirit of God, and Lady Wisdom, as female. This ruach, the breath of God, brooded over the face of the deep in the creation story like a hovering mother bird. The God of the Bible and the early church has been described with both masculine and feminine imagery, referred to by the church fathers and mystics as both Mother and Father. In our time we have lost much of this rich feminine imagery. This book explores not only this historical knowing of God but also more contemporary writers, such as Carl Jung, Paul Young (The Shack), George MacDonald, and Thomas Merton. Each of these men engaged with the Divine Feminine, giving us examples of how we too may find God more deeply and more intimately.-- back cover

This article is concerned with geographically indirect immigration to Canada over the period 1968–1988. A geographically indirect immigrant is an individual legally admitted to Canada whose country of last permanent residence differs from country of birth. Records maintained by Employment and Immigration Canada on every immigrant legally admitted over the period were used in the study. Relative to geographically direct immigrants, geographically indirect immigrants tend to be older, more educated, and more highly skilled. Moreover, if they were not born in an English or French speaking country, indirect immigrants are more likely to speak English and/or French capably than direct migrants born in such countries. The study also contains bivariate logit estimates of a model of geographically indirect Canadian immigration. This model suggests that indirect migrants tend to be influenced by personal characteristics (age, sex, marital status, occupation, language ability), as well as by various characteristics of the country of birth (distance from Canada, income level, political conditions).

Light and shadow-an introduction -- Stolen, robbed, kidnapped -- The disappearance of the original -- Cultural history destroyed -- When dictators collect -- The fakes president : Donald Trump and art -- Art investment as fraud -- Dirty money and clean art.

Inspired by Lefebvre's meditation on the rhythms seen from his apartment in Paris, we develop a novel rhythmanalytic account of urban air pollution, its breathing-in and impact in vulnerable bodies. We conceptualise urban air pollution as entwined in its making and consequence with the diverse rhythms of technologies, social practices and socio-temporal structures, environmental and atmospheric processes, bodily movements in space and time, and rhythmically constituted corporeality. Through this interdisciplinary account we position urban air pollution as integral to the 'beat' of the city, both a product of and constituent part of its evolving spatiotemporal form. We build on this foundation to develop a polyrhythmic conceptualisation of how certain places and lives are more dominated by pollution than others. Unequal patternings are made through the structuring effects of rhythmic repetition and by fatal intersections between the rhythms of polluted air and unequal capacities to avoid harmful breathing in and to resist the arrhythmic corporeal consequences that can follow. Understanding inequalities as manifest not within a static landscape of spatial relations, but in sets of unequally unfolding and structured polyrhythmic relations has implications for revealing patterns of inequality and for extending evidence-making more deeply into how rhythms intersect. Which and whose rhythms are to be intervened in are also considered as key ethical and political questions. We draw out implications for activism and community action, and identify the potential for bringing rhythmanalysis into productive engagement with broader environmental justice concerns, including in relation to recent COVID-19 experiences.