Publisher Description

Publisher Description

"The nature of the icon cannot be grasped by means of pure art criticism, nor by the adoption of a sentimental point of view. Its forms are based on the wisdom contained in the theological and liturgical writings of the Eastern Orthodox Church and are imtimately bound up with the experience of the contemplative life. The present work is the first of its kind to give a reliable introduction to the spiritual background of this art. The introduction into the meaning and language of the icons by Ouspensky imparts to us in an admirable way the spiritual conceptions of the Eastern Orthodox Church which are often so foreign to us, but without the knowledge of which we cannot possibly understand the world of the icon." -- Back cover.

When Grief Descends is recommended for anyone seeking to learn about loss and grief. Through an authentic and well-researched narration, Anne Mackie Morelli unveils a unique interpretation of the Book of Job, an under-appreciated and, at times, misunderstood book of the Bible. Anne shares her faith, theological and counseling background, with a vulnerable sharing of her own journey of suffering.The reader is invited to sit alongside Anne, Job, and the "miserable comforters" on the ash heap outside the city gates, witness their conversations with God and with each other, and learn how to, - Navigate loss and process grief, - Become a more consoling comforter, - Acquire the communication skills and practical strategies essential in consolation, and- Build an understanding of suffering through the lens of the Christian faith.

ÿ The experience of the divine has been referred to by many artists over the centuries, whether their subject was the human figure, landscape, still life or indeed religious or biblical themes. Art therefore requires a kind of openness; a willingness to mediate rather than to control. This sensitivity can best be described as humility, an obeisance to something we are part of. Therefore, to 'see' the 'unseen' in visual arts brings about awe and requires 'iconic viewing'. The spiritual realm, as portrayed by icons, has a healing quality in a world where the news and the arts are so full of tragedy and where the church's message so often sounds escapist or na‹ve.

At once a lament-psalm and a love song, Grief's Liturgy records Gerald Postema's work and worship of grief upon the loss of his wife, a year's work aided by the companions--poetry and prayers, icons and images, music and silence--that sat patiently with him. Structured around the liturgy of the Divine Office, reflections in each "hour" take on a distinctive expressive and emotional tone and fall into a jagged, broken rhythm over the course of each "day" yielding ultimately an understanding of the life-affirming necessity of grief.

Shedding light on the historicity of icons to reframe the history of the screen and dissect the visual core of a medium that is still poorly understood, this book presents new ways of seeing the mechanisms at work in our modern pictorial culture.

Welcome to the Grief Club - a place where one human who experienced a terrible loss, Janine Kwoh, is at the door to welcome other humans who are grieving. It is not an instruction manual, or a step-by-step playbook, or a memoir. It is, rather, a fresh, empathetic approach to all of the surprising, confusing, brutal, funny, and downright bizarre parts of grief. Combining her own experiences with grief - the author's partner died when both were in their late 20s - with what she learned from others in her 'grief club', Kwoh uses brief writings and observations, hand-drawn illustrations, and diagrams to explore all the different ways grief happens. Plus, wisdom and understanding in every line - there is no right or wrong way to grieve - and permission to grieve in whichever ways you need, for however long you need to. What to do when the world is your grief trigger. Signs you have grief brain. And gentle assurances: Grief isn't linear, but it does change and will soften over time. It is a book to put into the hands of anyone who is grieving, because from its very first page, that person will know they are no longer alone.

This book explores the ideas of key thinkers and media practitioners who have examined images and icons of war and terror. Icons of War and Terror explores theories of iconic images of war and terror, not as received pieties but as challenging uncertainties; in doing so, it engages with both critical discourse and conventional image-making. The authors draw on these theories to re-investigate the media/global context of some of the most iconic representations of war and terror in the international ‘risk society’. Among these photojournalistic images are: Nick Ut’s Pulitzer Prize winning photograph of a naked girl, Kim Phuc, running burned from a napalm attack in Vietnam in June 1972; a quintessential ‘ethnic cleansing’ image of massacred Kosovar Albanian villagers at Racak on January 15, 1999, which finally propelled a hesitant Western alliance into the first of the ‘new humanitarian wars’; Luis Simco’s photograph of marine James Blake Miller, ‘the Marlboro Man’, at Fallujah, Iraq, 2004; the iconic toppling of the World Trade Centre towers in New York by planes on September 11, 2001; and the ‘Falling Man’ icon – one of the most controversial images of 9/11; the image of one of the authors of this book, as close-up victim of the 7/7 terrorist attack on London, which the media quickly labelled iconic. This book will be of great interest to students of media and war, sociology, communications studies, cultural studies, terrorism studies and security studies in general.

The Last Word investigates the debased art of eulogy. Through insightful, surprisingly playful readings of famous eulogies (from a scene in Love Actually to Jacques Derrida’s heart-rending essays on the deaths of his peers), Cooper argues against the socially sanctioned desire to avoid thinking about death that results in clichéd memorials, honoring neither the living nor the dead.