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- The Family: A Christian Perspective on the Contemporary Home
- Embarrassing Redaction Failures
- The Surprising Origin Story of Wonder Woman
- The Pessoptimist : Breaching the State's da'wâ in a Fated Narrative of Secrets
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By Jack O. Balswick and Judith K. We initially wrote The Family: A Christian Perspective on the Contemporary Home to present an integrated view of contemporary family life based on current social-science research, clinical insights, and biblical truth.
The Family: A Christian Perspective on the Contemporary Home
The reader of a text, like its creator, brings to it certain ''pre-understandings,'' a general context of beliefs and expectations within which the features of the textual system can be assessed Eagleton, The maqa" maesque narrative of Emile Habiby's al-Mutasha" 'il, its fictional constructs as well as its particular usage of history, draw a realm of ideological intention.
The colorful literary genealogy of al-Mutasha" 'il entertains the medieval landscape of al-Ja" hiz, the maqa" ma" t of Bad ' al-Zama" n al-Hamadha" ni d. The thread that holds several integral aspects of the novel is the making and unmaking of secrets. As Roger Allen has noted in a recent lecture, Habiby's work ''evokes the maqa" ma at almost every turn, not least in its use of irony and humor, but without actually imitating it.
In the maqa" ma" t of Bayram al-Tunis d. Class division, the political elite's corruption, Azharite hypocricy and religious ignorance, and superflous Westernization of the '' akabir and asafil '' the nobility and the lowly alongside the viziers and counsels who spoke the ''urubbawiyya'' European , were all vividly exposed in the maqa" mas of al-' Asriyya, al-Rifa'iyya, al-' Amirka" n yya, and al-Intikha" b yya Maqa" ma" t Bayram 54, 84, 90, Erudite yet unpatroned by those in power, Habiby has nonetheless, much like his literary mates, al-Har r and al-Hamadha" n , a keen interest in the life of the common person and popular culture.
Furthermore, like al-Tunis who abandoned Muhammad al-Muwaylihi's focus on the upper class, Habiby rediscovers the maqa" ma's early interest in the lower echelons of society and reclaims it for the ruled, the Palestinians of Israel.
Al-Mutasha" 'il 's maqa" ma embellishes a potent political commentary on occupied and half-integrated Palestinians and their collective memory over twenty years and two wars , In one of its many lives and reincarnations, Habiby's modern maqa" ma questions the ontology of the Israeli state and bespeaks the human contradictions and struggles of its Palestinian citizens.
A comic antihero, Sa'id discloses the secrets of his life in Israel in the form of letters addressed to an anonymous journalist. In a process of generic transformation, a linkage is made between the journalist-narrator and Sa'id, a semivirtuoso whose language is spiced throughout with humor and folly. Underlying the surface narrative structure, this epistolary novel weaves an intricate scheme that ties all the main characters together in a process of constructing and unveiling of secrets.
By decomposing the major references to 'secrets' alongside the symbols and allegories relating to them, one not only uncovers the textual organization of the novel, but maps out its thematic concerns and its very subtext and meanings. From the start there is an overall belief in the necessity and importance of revealing secrets, celebrating the human underworld, the fantasmic and unintelligible.
Habibi finds little inspiration in the stoic maqa" ma" t of Jala" l al-D n al-Suyu" t d. Whereas al-Suyu" ti denigrated story tellers and denounced those who used false accounts as a means for begging and influencing popular opinion, Habiby bestows great authority on storytellers and envisages important political acumen in the Sufis and mystics as Allen notes. In the chapter entitled ''Saeed Changes into a Cat that Meows,'' the passage occurs that we cited in the epigraph: ''But what about the secret I bear?
And that is what I am doing. It is Habiby's intention to show that a secret, whether felt by one to be a curse or by another to be a treasure, will be eventually disclosed because in its disclosure lies the affirmation of Palestinian self and freedom. The uncovering of secrets becomes inevitable as Sa'id undertakes his flight from reality into a range of failing alternatives. Reminiscent of al-Har r 's primary narrator, al-Ha" rith, who is usually bound by profound secrecy by the governor and commoners whose mishaps and failures he witnesses, Sa'id carries his own secret and a seemingly endless chain of secrets of those he meets throughout his life.
Sa'id's great uncle tells his wife about the treasure and makes ''her swear not to tell anyone, not even his own brother'' M, 79, 80; P, 29, One day the uncle disappears into the opening of the wall of the ruined building where he has found the treasure. Sa'id decides upon this incident not to die and rather to forget about the treasure, yet he keeps the secret of its existence within him. As such, Sa'id is empowered by the very act of knowing and holding the secret of the treasure rather than by owning the treasure itself.
The fact that there is an existential-political space that is left unviolated by the state, a space of secrecy, leaves the future open for 'Palestinian' possibilities. Al-Mutasha" 'il 's imaginative originality is grounded in a particular movement in time; words and images though repeated do not repeat their meanings.
Thus, the three Yu'ads as her name suggests, repeated , and one Baqiya unchanging , far from invoking a cyclical sense of history, create a spiral movement in time, a progression and not a repetition. With each secretive experience, Sa'id is transformed and his fate is neither predicted nor sealed by our earliest knowledge of him.
When the first Yu'ad is deported from Israel, Jacob, the Israeli bureaucrat, promises to bring her back in return for Sa'id's political services, mainly spying and plotting against the Communists, which remains Sa'id's and Jacob's shared secret.
The letter that the first Yu'ad sends to Sa'id is in turn ''the only confidential secretive paper ''he keeps all this time to convince himself that he is capable of defying the ''apparatus'''' and because he regards it as ''a marriage certificate'' M: ; P: Sa'id is unable to read it until he is certain that there are no electronic bugs around. The very act of writing a novel becomes a revelation of all the intertwined and multiplying secrets. Behind the apparent particulars of the secret-carriers and the secret-tellers lurks an existential unity revealed through the act of narration.
The author is clearly concerned with the collective socio-political language of secrets; the fragmented or divided material of mini-narratives tamed to a coherent macro-social reality. The complicitous spirit of the journalist is suddenly recognized when we realize that there is no 'secrecy' to such secrets which are disclosed by Sa'id to the journalist and in turn made known to us through the latter's act of novel-writing. Embedded in this everlasting tale of secrets are two narrative movements that carry an explicit socio-political vision.
The first movement treats the secret as a dialectic of historical change, an entity and its negation whereby every secret made is simultaneously divulged and once divulged it creates a different construct of secrets. The second movement invokes al-Hamadha" ni's use of an Isma'ili Weltanschuaung, through which Habiby confirms R. Al-Mutasha" 'il transports to us the Palestinians' dramaturgical performance of Israeli citizenship as the deceiving za" hir.
Their mechanical participation in this citizenship veils their ba" tin defiance and their sheltered identity. Sa'id, we are told, used to consider himself ''a ba" tin '' until the Israeli government sent him on a delegation to Europe where he and others gave tambal hats to their Jewish brothers. There, Sa'id gave them his ''shirt, pants, and all his ba" tin clothes, keeping nothing hidden'' but his secret M, ; P, The expression '' thiya" bi al-ba" tiniyya'' is deliberately used to invoke the idea of esotericism and as such cannot be simply translated into 'underwear' thiya" bi al-da" khiliyya as Jayyusi and LeGassick rendered it.
Despite his outward adherence to the Israeli bureaucracy and his over-indulgence in conformity, Sa'id hides from the state his many secrets. The narrator's storytelling, however, differs from Sa'id's in that his divulgence of secrets is heroic and at times mystifying. Sa'id's is tragic and scandalous. A paradoxical blend of passivity and folly, despair and defeatism, Sa'id enacts the duties of a loyal Arab ''citizen'' of Israel.
Though ''defective,'' he still carries the kind of human qualities that signal to the reader that Sa'id is not unique. The search for the objective individual identity of Sa'id proves to be a futile endeavor, mainly because he is present in the others, so apparent that one ''trips over'' him without being aware of him.
Hospital records account for the presence of ''Sa'di al-Nahhas,'' or the ''Optimist-Pessimist,'' known also as Abu al-Thum and called by others Abu al-Shu'm, the pessimist. There is no redemption for him. The journalist advises that were we to look for Sa'id in the ancient catacombs of Acre, we may be like the lawyer who listened to a madman and went searching for buried treasure under a molasses tree.
He kept on digging and digging, so the story goes, to the east, to the north, to the south, and to the west, until finally he completely uprooted the tree. But still he found no treasure. The madman, in the meantime, was busy painting a wall with a brush dipped into a bucket with no bottom. When the lawyer returned, sweat streaming, the madman asked,''Well did you uproot the tree? For the Palestinians who accepted the ideological foundations of the Israeli state and had reconciled their future to its omnipresence, the only possible existence is one of halfpessimism, half-optimism al-mutasha" 'im, al-mutafa" 'il : Sa'id's lunacy.
With Habibi, the maqa" ma ties itself to psychological flight and political journey into foreign lands and internal exile; it also makes considerable use of the autobiographical dimension.
The autobiographical is on one level factual and on another fictional. As such it is thoroughly subversive and ironic yet it is confrontational. Like the Ikhwa" n al-Safa" ' , the Brethren of Purity, the narrator knows when and to whom secrets should be disclosed and explores their particular use in changing political reality.
This is illustrated in almost all the examples discussed in this paper. Unlike al-Hamadha" n to whom the neo-platonism of Ikhwa" n al-Safa" ' was a writing technique for contrasting the esoteric and exoteric levels of a text, Habiby adapts some of the epistemological foundations of Ikhwa" n al-Safa" ' 's thought and Isma'ili Shi'ism to his historical and human inquiries through Al-Mutasha" 'il.
To illustrate this aspect, we need only turn to the story of Baqiya, she who gives her son her secret but also the ''hope to bear himself'' M, ; P, Baqiya wants to call her son Fathi victor but the Israeli bureaucrat, the ''big man with small stature'' bestows on him the name Wala' loyalty.
Wala' becomes Fathi in disguise, for as his life develops, he seems to embody the negation of the role he was imagined to play as a conformist citizen of Israel; his za" hir and ba" tin could no longer be harmonized and have as such reached the cycle of kashf open revelation. His name begins to function as an exoteric veil, a deceptive cover for the real esoteric truth that lurks within him.
The unfolding of Baqiya's secrets, itself a transformation of 'Wala' into a 'Fathi' , and Wala's open defiance of Israeli rule, culminates in the death of both the mother and the son by the Israeli soldiers.
Their death, we are told, also becomes ''a closely guarded state secret'' M, ; P, Ultimately, the only place for a true Palestinian selfhood within Israel is on the esoteric level. Esoteric ties to a revolutionary selfhood are not without precedent.
Al-Mutasha" 'il invokes ties to militant mystics who rebelled against their tyrants and challenged the rulers' hegemony over the interpretation of the sacred text. He was nicknamed Abu Rukwa because, in the tradition of the Sufis, he used to carry a Rukwa small pot of copper in his travels.
He defeated al-Hakim's armies in several battles before he was captured and executed. The title of one of Habiby's chapters in Al-Mutasha" 'il, namely, ''The Secret Which did not Die When the Secret Did,'' is long enough to suggest an intended irony and evades the rule of suspense that an actual concealment of a secret induces in the reader.
The chapter tells, quite undramatically, in a matter-of-fact tone, of a young blind man who leaves his Palestinian village in then attempts to ''infiltrate'' Israel after its establishment. The villagers keep his return a secret and arrange his marriage to a woman they pretend is his brother's second wife; her children, they claim, belong to his brother.
For twenty years, and despite all the cordons imposed on the Palestinians the secret fails to reach the Israeli authorities. The author explains:It developed into an established tradition, one never to be misused by any member of the village. It was in fact, much like the awakening of a conscience to something never before aroused.
But at last the secret had died, that night in fact. So they had buried him silently and now mourned him quietly. Discretion with respect to this dangerous secret becomes an aspect of human superiority and status-reversal for Palestinians amidst adversity and subjugation.
The journalist, an erudite writer who lives from the profession of writing, itself potentially a deconstruction of secrets, is depicted by the author as belonging to an identifiable political group, namely the Communists. An invisible thread binds the tale of secrets to the identity and vision of this journalist to whom Sa'id's autobiography is revealed in epistolary form.
Indeed, the Communist journalist is the narrative persona for the author who becomes the center of discussion in a number of places in the novel.
Embarrassing Redaction Failures
The joys and the hopes, the griefs and the anxieties of the men of this age, especially those who are poor or in any way afflicted, these are the joys and hopes, the griefs and anxieties of the followers of Christ. Indeed, nothing genuinely human fails to raise an echo in their hearts. For theirs is a community composed of men. United in Christ, they are led by the Holy Spirit in their journey to the Kingdom of their Father and they have welcomed the news of salvation which is meant for every man. That is why this community realizes that it is truly linked with mankind and its history by the deepest of bonds. Hence this Second Vatican Council, having probed more profoundly into the mystery of the Church, now addresses itself without hesitation, not only to the sons of the Church and to all who invoke the name of Christ, but to the whole of humanity. For the council yearns to explain to everyone how it conceives of the presence and activity of the Church in the world of today.
In the summer of , a press release from the New York offices of All-American Comics turned up at newspapers, magazines and radio stations all over the United States. William Moulton Marston, internationally famous psychologist. Or so, at least, it was made to appear. Wonder Woman is the most popular female comic-book superhero of all time. Aside from Superman and Batman, no other comic-book character has lasted as long.
The Surprising Origin Story of Wonder Woman
The classic and critically acclaimed book Family Therapy with Ethnic Minorities, Second Edition has now been updated and revised to reflect the various demographic changes that have occurred in the lives of ethnic minority families and the implications of these changes for clinical practice. Family Therapy with Ethnic Minorities provides advanced students and practitioners with the most up-to-date examination yet of the theory, models, and techniques relevant to ethnic minority family functioning and therapy. Distinctive cultural values of each ethnic group are explored as well as specific guidelines and Have you created a personal profile? Login or create a profile so that you can save clips, playlists and searches.
What the Amazon founder and CEO wants for his empire and himself, and what that means for the rest of us. Where in the pantheon of American commercial titans does Jeffrey Bezos belong?
The Pessoptimist : Breaching the State's da'wâ in a Fated Narrative of Secrets
Refworks Account Login. Open Collections. UBC Theses and Dissertations. Featured Collection. Concordia University, M. At the centre of this dissertation is Empire of the Son, a theatrical script that explores my contentious relationship with my Japanese father. This exploration is based on memories, interviews, and artifacts such as photographs, documents, and letters.
Michael J. Weithorn born December 17, is an American writer, director, and producer known for his works including the long-running sitcom The King of Queens. He attended and graduated Swarthmore College in Swarthmore, Pennsylvania in  with a Bachelor of Arts degree in political science. From to Weithorn was a story consultant and then producer on episodes of Family Ties , writing 26 of the episodes during his tenure on the show. During that same time, he also wrote episodes for other TV shows, including Cheers.
Однако в данный момент у него был перерыв и он поглощал пирог с сыром и перцем в круглосуточной столовой АНБ. Джабба собирался взять третий кусок, когда зазвонил мобильный телефон. - Говорите, - сказал он, быстро проглотив пирог. - Джабба, - проворковала женщина в ответ. - Это Мидж. - Королева информации! - приветствовал ее толстяк.
Seven years ago, Mckayla, the woman of Ray's dreams, abruptly disappeared the same day a member of his family was killed in a hit and run accident. https://e.
Сьюзан глубоко вздохнула. - Да поможет нам Бог, - прошептала. - Мы можем принять участие в аукционе. Стратмор покачал головой: - Танкадо дал нам шанс.
Он хотел их отключить. Для него важен был только один голос, который то возникал, то замолкал. - Дэвид, прости .
Дэвид посмотрел ей в глаза: - Ты выйдешь за меня замуж. У нее перехватило дыхание. Она посмотрела на него, потом на кольцо. Глаза ее увлажнились. - О, Дэвид… у меня нет слов.