Ears, Eyes, and Hands presents the author’s reflections on language, literacy, and linguistics that have been shaped by her deafness and by her work as an educator. In short, engaging narratives, Deborah L. Wolter exposes deeply entrenched attitudes and stereotypes regarding language, bringing to bear her own experiences as a deaf person as well as her interactions with children from varying backgrounds.
Wolter reveals and rectifies the impact of deficit mindsets in the educational system regarding race, ethnicity, economic status, gender, and disability. As a literacy specialist, she works with students who fall through the cracks in a system that strives to embrace the diverse backgrounds and abilities found in the classroom. Her passion for engaging students and cultivating literacy shines in the stories she tells, which serve as parables that allow readers to evaluate their own attitudes and assumptions. Educators, parents, and community members will benefit from Wolter’s examination of sociolinguistics and language privilege as she identifies how ethnocentrism and ableism are contributing to negative educational outcomes for some students. With humor and warmth, she offers a path toward approaching language and listening as a gateway to connection and understanding, both inside the classroom and beyond.
The Eyes of Faith presents a systematic theology of the sense of the faithful (sensus fidelium) and shows the fundamental and necessary interrelationship between sensus fidelium, tradition, Scripture, theology, and the magisterium.
The Eyes of the World focuses on the lives and experiences of Eastern Congolese people involved in extracting and transporting the minerals needed for digital devices.
The digital devices that define our era exist not only because of Silicon Valley innovations, but due to a burgeoning trade in dense, artisanally mined substances like tantalum, tin, and tungsten. As James H. Smith argues, in the Eastern DR Congo these minerals are also socially dense, fueling movement and collaborations that encompass diverse actors, geographies, temporalities, and dimensions.
Based on long-term research, The Eyes of the World examines how Eastern Congolese understand the work in which they are engaged, the forces pitted against them, and the total process through which substances in the earth and forest are converted into commodified resources. Smith shows how the experience of violent dispossession has fueled a bottom-up social theory that valorizes movement and collaboration—one that directly confronts tracking initiatives designed to ensure that the minerals in digital devices are “conflict free” by excluding certain actors and places. While global watch groups espouse Western-style bureaucratic methods that prioritize transparency and purity, Smith explains why Congolese understand these exclusionary interventions as potentially violent and predatory efforts to further separate them and their histories from supposedly “clean” technologies.
To read accounts of late medieval banquets is to enter a fantastical world where live lions guard nude statues, gilded stags burst into song, and musicians play from within pies. We can almost hear the clock sound from within a glass castle, taste the fire-breathing roast boar, and smell the rose water cascading in a miniature fountain. Such vivid works of art and performance required collaboration among artists in many fields, as well as the participation of the audience.
A Feast for the Eyes is the first book-length study of the court banquets of northwestern Europe in the fourteenth and fifteenth centuries. Christina Normore draws on an array of artworks, archival documents, chroniclers’ accounts, and cookbooks to re-create these events and reassess the late medieval visual culture in which banquets were staged. Feast participants, she shows, developed sophisticated ways of appreciating artistic skill and attending to their own processes of perception, thereby forging a court culture that delighted in the exercise of fine aesthetic judgment.
Challenging modern assumptions about the nature of artistic production and reception, A Feast for the Eyes yields fresh insight into the long history of multimedia work and the complex relationships between spectacle and spectators.
A vividly described and intensely personal memoir, My Bayou charts a personal and spiritual transformation along the fabled banks of Bayou Saint John in New Orleans. When Constance Adler moves to New Orleans, she begins what becomes a lasting love affair with the city, and especially the bayou—a living entity and the beating heart of local culture. Rites of passage, celebrations, mysterious accidents, and magic all take place on its banks, leading Adler to a vibrant awareness of the power of being part of a community. That faith is tested in the wake of Hurricane Katrina, and is ultimately proven right, as Bayou Saint John begins to rebuild.
An American storyteller’s immersion In the Chinese folktale tradition
“Having traveled on the same People to People Ambassador journey to China with Julie, I have seen Julie's anthology from inception to fruition. It is a masterful, engaging, informative and scholarly addition to our understanding and appreciation of Chinese culture, particularly storytelling and folk traditions, from ancient days to today. Practicing storytellers will especially appreciate her tips for telling and context clues at the end of each story.” --Judith Heineman, storyteller, producer and Illinois Humanities Road Scholar
In an era in which the internet has made pornography readily accessible, Seeing with the Eyes of the Heart offers a theological critique of pornography and retrieves from the Christian tradition an alternative visual culture. This visual culture is constituted by both the character of the images we behold and the manner in which we see. Contributors include psychologists William M. Struthers and Jill Manning, who address the neurological effects of pornography and its influences on personal, familial, and social life. Their professional analysis is complemented by the testimony of a young man in recovery from pornography addiction. In an exposition of Christian visual culture, Orthodox iconographer Randi Sider-Rose describes the spiritual discipline of icon writing, Danielle M. Peters, S.T.D., surveys the iconography and art of Marian traditions, and art historian Dianne Phillips elucidates the meaning of divine desire as evident in Catholic visual culture of the late medieval and early modern periods. Catholic theologians Ann W. Astell, Nathanial Peters, Boyd Taylor Coolman, and Nicolas Ogle discuss specific practices and dimensions of the Catholic tradition that can contribute to the cultivation of sacramental vision, and David W. Fagerberg, Kimberly Hope Belcher, Jennifer Newsome Martin, and John C. Cavadini offer reflections on sacramental imagination and the healing of vision.
Seeing with the Eyes of the Heart is a work of scholarship composed with pastoral care and concern, and it will be serviceable to both classroom teachers and pastoral ministers. A special feature of the book is an inset of seventy-two full-color plates featuring both classic and contemporary works of Christian iconography and art. The essays and images invite readers to behold in beauty the truth that we are created by the triune God not for sexual objectification but with a sacramental vocation to deification through Christ and the Holy Spirit of love.
The Tanimbar Islands of Indonesia are remote and largely neglected by outsiders. Will Buckingham went there, as an anthropologist in training, with a mission. He hoped to meet three remarkable sculptors: the crippled Matias Fatruan, the buffalo hunter Abraham Amelwatin, and Damianus Masele, who was skilled in black magic, but who abstained out of Christian principle. Part memoir, part travelogue, Stealing with the Eyes is the story of these men, and also of how stumbling into a world of witchcraft, sickness, and fever led Buckingham to question the validity of his anthropological studies, and eventually to abandon them for good.
Through his encounters with these remarkable craftsmen—which in relating her also interweaves with Tanimbarese history, myth, and philosophy dating back to ancient times— we are shown the forces at play in all of our lives: the struggle between the powerful and the powerless, the tension between the past and the future, and how to make sense of a world that is in constant flux.