Women are rarely if ever mentioned in commentaries upon Australian Christianity and spirituality. Only exceptional women are recognized as authorities on religious matters. Why is this so? Does it matter? Don't people from the same religious tradition share similar experiences of the divine, regardless of their gender? Rewriting God asks whether women have been writing about the divine and whether their insights are different from those contained in malestream accounts of Australian Christianity and spirituality. An analysis of the writings of popular theologians and religious commentators over the last twenty years suggests that the most popular form of spirituality among Australian theologians is Desert Spirituality. An analysis of women's autobiographical writings, however, suggests that the desert is irrelevant to many women's spiritual experiences. This book, through a close investigation of the fictions of Thea Astley, Elizabeth Jolley and Barbara Hanrahan, attempts to posit alternative forms of women's spirituality and to signal ways in which this spirituality is already being expressed. From the evidence gathered here, it becomes obvious that traditional expressions of Australian Christianity and spirituality are gender-specific and that they have functioned to deny women's religious experiences and to silence their claims to equality in the sight and service of the divine. It becomes obvious, too, that women have been developing their own forms of religious expression and that these may be expected to supplant gradually withering images of Desert Spirituality. Whether this new imagery will strengthen Australian Christianity or whether it merely marks a decline in the authority of Christianity remains a moot point.

Women who have gone through hard times often carry years of emotional baggage that keeps them in bondage to a time, event, or person. Using the blessings in the Beatitudes, Becky Harling shows how to erase negative emotional messages of the past. Learn how to rewrite your emotional script by adopting the positive attitudes of the Beatitudes.

Spirit Matters is a ground-breaking work, the first to explore a broad range of writings on spirituality in contemporary Japanese literature. It draws on a variety of literary works, from enormously popular fiction (Miura Ayako's HyEten and Shirokari Pass and the novels of Murakami Haruki) to more problematic "serious" fiction (Ee KenzaburE's Somersault) to nonfiction meditations on martyrdom and miracles (Sono Ayako's Kiseki) and the dynamics of religious cults (Murakami's interviews with members of Aum ShinrikyE in Underground). The first half of the volume focuses on the work of two women Christian writers, Miura Ayako and Sono Ayako. Combining a decidedly evangelistic bent with the formulas of the popular novel, Miura; s 1964 novel HyEten (Freezing Point) and its sequel are entertaining perennial bestsellers but also treat spiritual issues--"like original sin--"that are largely unexplored in modern Japanese literature. Sono's Kiseki (Miracles) and Miura's Shiokari Pass focus on the meaning of self-sacrifice and the miraculous and survey both the paths by which people come to faith and the spiritual doubts that assail them. Perhaps most striking for Western readers, Gabriel reveals how Miura's novel shows the lingering resistance to Christianity and its oppositional nature in Japan, and how in Kiseki Sono considers the kind of spiritual struggles many Japanese Christians experience as they try to reconcile their belief in a minority faith.

Your unique journey in this life is about to begin with the book you now hold in your hands. From this day forward, you will become an informed, highly educated, greatly inspired, and blessed person as you commit to studying the contents of BEGUILED: Eden to Armageddon Volumes 1, 2 and 3. Today, your life will be transformed and greatly enhanced by the rarest of information you will ever have had the privilege to read. BEGUILED will motivate you to rethink ancient myths, false doctrinal teachings, and mankind's entire history.

Piero Boitani discusses how some of the most fascinating scenes of Old and New Testament — Genesis, Exodus, Job, the Susanna story, the Gospel of John — are directly or indirectly rewritten in works ranging from the medieval period to the late twentieth-century: by Milton and Mann; by Chaucer, Dryden, La Fontaine, Orwell, and Kafka; by Faulkner and Tournier; by Shakespeare, T. S. Eliot, and Joseph Roth. Literature resonates with the mystery of recognition between human beings, and between God and humankind. The opening and closing chapters of the book examine this theme: from Abraham and Yahweh at Mamre to Joseph and his brothers, from Helen and Menelaus to Jesus and Mary Magdalene, from Pericles and Marina to Mendel Singer and his son Menuchim. The three central sections of the book discuss the means by which re-scripturing interprets the Scriptures: through truth or fiction; through letter or allegory; through liturgy, exegesis, catacomb frescoes, even churches themselves. This is an illuminating look at the Bible and its medieval and modern rewritings.

Even before the biblical canon became fixed, writers have revisited and reworked its stories. The author of Joshua takes the haphazard settlement of Israel recorded in the Book of Judges and retells it as an orderly military conquest. The writer of Chronicles expurgates the David cycle in Samuel I and II, offering an upright and virtuous king devoid of baser instincts. This literary phenomenon is not contained to inner-biblical exegesis. Once the telling becomes known, the retellings begin: through the New Testament, rabbinic midrash, medieval mystery plays, medieval and Renaissance poetry, nineteenth century novels, and contemporary literature, writers of the Western world have continued to occupy themselves with the biblical canon. However, there exists no adequate vocabulary-academic or popular, religious or secular, literary or theological-to describe the recurring appearances of canonical figures and motifs in later literature. Literary critics, bible scholars and book reviewers alike seek recourse in words like adaptation, allusion, echo, imitation and influence to describe what the author, for lack of better terms, has come to call retellings or recastings. Although none of these designations rings false, none approaches precision. They do not tell us what the author of a novel or poem has done with a biblical figure, do not signal how this newly recast figure is different from other recastings of it, and do not offer any indication of why these transformations have occurred. Sustaining Fictions sets out to redress this problem, considering the viability of the vocabularies of literary, midrashic, and translation theory for speaking about retelling.

Drawing on original research from social scientists working on twelve countries this book explores the key issues faced by nations and citizens as they struggle to rediscover, reaffirm or reconstruct their sense of national identities in the face of globalizing forces. Some nations and peoples experience the fragmentation of once certain identities as threatening and likely to generate political and social breakdown. Others encounter globalization as a challenge which brings uncertainties but also opportunities for adaptation, the evolution of hybrid identities or new forms of protest.

'Hurrah for one of our most merciless humorists. Auslander's prose isn't just laudable, it's frightening' David Sedaris From the acclaimed author of Foreskin's Lament, a memoir of the author's attempt to escape the biblical story he'd been raised on and his struggle to construct a new story for himself and his family. Shalom Auslander was raised like a veal in a dysfunctional family in the Orthodox community of Monsey, New York: the son of an alcoholic father; a guilt-wielding mother; and a violent, overbearing God. Now, as he reaches middle age, Auslander begins to suspect that what plagues him is something worse, something he can't so easily escape: a story. The story. One indelibly implanted in him at an early age, a story that told him he is fallen, broken, shameful, disgusting, a story we have all been told for thousands of years, and continue to be told by the religious and secular alike, a story called "Feh." Yiddish for "Yuck." FEH follows Auslander's midlife journey to rewrite that story, a journey that involves Phillip Seymour Hoffman, a Pulitzer-winning poet, Job, Arthur Schopenhauer, GHB, Wolf Blitzer, Yuval Noah Harari, and a pastor named Steve in a now-defunct church in Los Angeles. Can he move from feh to merely meh? Can he even dream of moving beyond that? Auslander's recounting of his attempt to exorcize the story he was raised with-before he implants it onto his children and/or possibly poisons the relationship of the one woman who loves him-isn't sacred. It is more-than-occasionally profane. And like all his work, it is also relentlessly funny, subversively heartfelt, and fearlessly provocative.

Most scholars believe that the numerous similarities between the Covenant Code (Exodus 20:23-23:19) and Mesopotamian law collections, especially the Laws of Hammurabi, which date to around 1750 BCE, are due to oral tradition that extended from the second to the first millennium. This book offers a fundamentally new understanding of the Covenant Code, arguing that it depends directly and primarily upon the Laws of Hammurabi and that the use of this source text occurred during the Neo-Assyrian period, sometime between 740-640 BCE, when Mesopotamia exerted strong and continuous political and cultural influence over the kingdoms of Israel and Judah and a time when the Laws of Hammurabi were actively copied in Mesopotamia as a literary-canonical text. The study offers significant new evidence demonstrating that a model of literary dependence is the only viable explanation for the work. It further examines the compositional logic used in transforming the source text to produce the Covenant Code, thus providing a commentary to the biblical composition from the new theoretical perspective. This analysis shows that the Covenant Code is primarily a creative academic work rather than a repository of laws practiced by Israelites or Judeans over the course of their history. The Covenant Code, too, is an ideological work, which transformed a paradigmatic and prestigious legal text of Israel's and Judah's imperial overlords into a statement symbolically countering foreign hegemony. The study goes further to study the relationship of the Covenant Code to the narrative of the book of Exodus and explores how this may relate to the development of the Pentateuch as a whole.

Who is the biblical Gideon? A mighty warrior, or a fearful son? Hesitant solider, clever tactician, commanding father, ruthless killer, idolater, or illegitimate king? Gideon has long challenged readers of the book of Judges. How did so many conflicting portraits become inscribed in our biblical text and its reception? What might these portraits tell us about the authors, editors, and interpreters of Gideon's story-especially their expectations for men? Rewriting Masculinity interweaves redaction criticism, reception history, and masculinity studies to explore how Gideon's image changes from a mighty warrior to a weakling, from a successful leader to a man who led Israel astray. Kelly J. Murphy first considers the ways that older traditions about Gideon were rewritten throughout ancient Israel's history, sometimes in order to align the story of Gideon with new ideas about what it meant to act like a man. At other times, she shows that the story of Gideon was used to explain why older standards of masculinity no longer worked in new contexts. Murphy then traces how some later interpreters, from the ancient to the contemporary, continually rewrote Gideon in light of their own models for men, might, and masculinity. Murphy offers an in-depth case study of how a biblical text was continuously updated. Emphasizing the importance of reading biblical stories and expansions alongside their later reception, she shows that the story of Gideon the mighty warrior is, in many ways, the story of masculinity in miniature: a constantly-transforming construct.