Ebook Free The Screwtape Letters Study Guide for Teens: A Bible Study for Teenagers on the C.S. Lewis Book The Screwtape Letters (CS Lewis Study Series), by Alan Vermilye
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The Screwtape Letters Study Guide for Teens: A Bible Study for Teenagers on the C.S. Lewis Book The Screwtape Letters (CS Lewis Study Series), by Alan Vermilye
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About the Author
Alan Vermilye has worked in Christian publishing for over 15 years with many top selling Bible study authors as well as Christian musicians. He is the author of The Screwtape Letters Study Guide, The Screwtape Letters Study Guide for Teens, Screwtape Proposes a Toast Study Guide, The Great Divorce Study Guide, and he created the very popular Big Shiny Planet Bible Study Series used by thousands of church youth groups worldwide.
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Product details
Series: CS Lewis Study Series
Paperback: 106 pages
Publisher: Brown Chair Books (August 10, 2016)
Language: English
ISBN-10: 0997841745
ISBN-13: 978-0997841749
Product Dimensions:
6 x 0.2 x 9 inches
Shipping Weight: 5.6 ounces (View shipping rates and policies)
Average Customer Review:
4.7 out of 5 stars
23 customer reviews
Amazon Best Sellers Rank:
#70,977 in Books (See Top 100 in Books)
This study guide does a great job of making the Screwtape Letters relate to the world facing teens today. The concepts in the book are timeless, but teens might not see that, so this help parents and teens apply the letters to life today. All the problems and difficulties we have in getting, keeping and maintaining our faith are discussed in a relevant way. Great choice!
Bought this for my daughter who is in high school. I homeschool her, and am teaching a Christian Lit class to her and one of her friends. This was perfect. We had some really good discussions relevant to teenagers. Google screwtapeletterguide.com for answer guide.
The study guide helps to breakdown the letters than can be difficult to understand at times, especially since there are some language differences between CS Lewis and today’s teen. Overall the guide focuses on the main points of each letter and gives practical self reflection and life application. I’m a homeschool mom doing this study with two teens, age 15 & 17.
I really enjoy C.S. Lewis and this is a great book for teens and adults. The trick is to help them think of strategies opposite of their natural inclinations due to previous teachings. The old English language takes a little getting used to but it is all worth it.
A great way to investigate the meaning behind the work by C.S. Lewis.
Using with youth group of 7th thru 12th graders. Questions in the study guide spark in-depth conversations. Very helpful in tying God's word in with CS Lewis's Screwtape Letters.
It was hard for my 13yo son to understand some of the questions. Perhaps maybe a little bit older teen would have no issues.
Great study guide for teens and teachers alike.
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The Screwtape Letters Study Guide for Teens: A Bible Study for Teenagers on the C.S. Lewis Book The Screwtape Letters (CS Lewis Study Series), by Alan Vermilye PDF
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Download I Have the Right To: A High School Survivor's Story of Sexual Assault, Justice, and Hope, by Chessy Prout
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I Have the Right To: A High School Survivor's Story of Sexual Assault, Justice, and Hope, by Chessy Prout
Download I Have the Right To: A High School Survivor's Story of Sexual Assault, Justice, and Hope, by Chessy Prout
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About the Author
Chessy Prout is a high school sexual assault survivor. Raised in Japan, Chessy matriculated to St. Paul’s School—a boarding school in New Hampshire, where her father and sister attended. There, as a freshman, Chessy was the victim of a sexual assault. Chessy’s case and eventual trial garnered national and international media attention, as her assault was part of a ritual competition at the school called the “Senior Salute.” Two years later, in Chessy’s pursuit for justice, she decided to step forward publicly in August 2016 and launched the #IHaveTheRightTo initiative with the organization PAVE, for which she is an ambassador. In this initiative Chessy encourages survivors and others to assert their most important, basic rights, and uses her voice to let other survivors know that you are not alone.Jenn Abelson is an investigative reporter for The Washington Post. Before joining The Washington Post, she worked as a journalist for The Boston Globe Spotlight Team. Her investigations have exposed sexual assault at prep schools, doctors secretly performing two surgeries at the same time, and the widespread mislabeling of fish in the restaurant industry. In 2015, she was named a Pulitzer Prize finalist for her work on “Shadow Campus,” a series about dangerous off-campus college housing. Jenn grew up in New York, attended Cornell University, and lives in Washington, DC.
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Product details
Audio CD
Publisher: Simon & Schuster Audio; Unabridged edition (March 6, 2018)
Language: English
ISBN-10: 1508249105
ISBN-13: 978-1508249108
Product Dimensions:
5.1 x 0.8 x 5.8 inches
Shipping Weight: 9.6 ounces (View shipping rates and policies)
Average Customer Review:
4.7 out of 5 stars
39 customer reviews
Amazon Best Sellers Rank:
#1,167,693 in Books (See Top 100 in Books)
This is an important book for everyone to see the damaging effects of sexual assault, and the far reaching effects it has on the survivor and every loved one in her orbit. I read with great interest because my daughter attended a school in the ISL (Independent School League. The same grouping as St. Paul's). She was also a survivor of sexual assault which happened during a school sponsored program. The blame was placed squarely on the victim, her credibility and mental health were questioned, she was seen as a party pooper for ruining the school sponsored program by standing up to and identifying her attacker. She had panic attacks, her grades plummeted, she became a target for further harassment. The school was not helpful in fact they were hurtful, although recently they have made a big show of apologizing for criminal behavior that happened 40 years ago because that is painless for them to do. We have all of this in common with Ms. Prout, and many other survivors out there. I am thankful for this author to come forward and identify these patterns and to demand that boarding schools and all schools identify their huge role in the problem. And it's a big problem. Parents beware of these schools. The education is great, but if you loose your soul in the process, it is simply not worth it.
I wasn't expecting to read Chessy Prout's entire book the day it was published, but it's 4:30pm on March 6, and I did spend the whole day reading it. Once I started, I just couldn't stop.There is incredible courage in Chessy's openness -- her willingness to share so many details of what happened, how she felt, her interactions with the school, with the assailant, her friends, etc. She is not afraid to explain that there is no such thing as a "perfect victim." But the line that stuck with me was this: "Rape is not a punishment for poor judgment." This is so important for everyone, especially sexual assault victims, to understand.She also reveals the organizational/systemic rot that breeds this kind of behavior in institutions, St. Paul's School, in this case. The social reward structure that encourages rape. The apathetic administration in which no one wants to be the person responsible for dealing with this epidemic (and so they all turn a blind eye). The bullying and shaming that terrorize and silence survivors of sexual assault. These are things that CAN and MUST be changed. But they will change only when those in power take responsibility for what is happening, rather turning a blind and then, when they absolutely must respond, writing another email with a subject line like, "We're shocked...SHOCKED...to learn of this isolated incident." No one is shocked. And these incidents aren't isolated. We will have made real progress when that email subject line reads "Wow. We REALLY messed up, and we are so sorry. And here's how we're going to fix this enormous problem."The book is written by a young person and it feels very authentic. It is categorized as a Young Adults book, but I can think of a lot of Old Adults who should be reading it.
This book was eye opening! It certainly proves,those of us fortunate enough not to have experienced what this young girl went through truly have no idea of the effect it has on the victim. I was glued to this book and almost disappointed when I reached the ending.The way Chessy wrote makes you feel you also are going through this ugly experience. God Bless this girl for getting her story out and doing it with much class and dignity. All young women should read this book.
I should start by saying that I purchased this book after hearing a brief promotional interview with Chessy on the Daily Show. This entire huge topic about misogyny, rape culture, and sexual assault has been widely discussed in the news, on talk shows, & on social media & frankly, experienced by a large segment of our population, thus my students (I am a high school librarian) are interested in it as well.To lay the foundation of her story, Chessy starts a few years before the assault when her family is still living in Japan. It gives insight into her life and family dynamics.Chessy's assault occurs at an elite boarding school and I will admit that when she started to describe the environment and lifestyle of the students I thought; I cannot relate to this at all & I don't think it will resonate with my students. There were also parts in the story where I thought to myself; you shouldn't be doing that, it will lead to trouble or send the wrong message. It is hard to admit that I would have those thoughts despite my ardent support of sexual assault survivors & personal experience; but decades of a culture blaming women and victims is hard to move away from subconsciously. As a woman I have internalized all of the red flags, the things one should not do in order to stay safe.The truth is, it doesn't matter if you flirt or accept a date or even sext; if you do not consent to sex or a sexual encounter it is not your fault and it isn't something that should naturally unfold from the circumstances. I think date rape is still one of the harder hurdles to get over in our society. We understand stranger rape as wrong, but date rape is often explained away as having grey areas or as a misunderstanding.At some point in her story it didn't matter how elite her school was or how much money Chessy's family had- it was still another story of a girl being raped, her experience, and the aftermath of bullying and ostracization from her school community when she reported. Chessy was "lucky " in that she was actually able to seek justice since her case went to court. Only a very small number of sexual assault cases make it that far.*I think I cried through the whole second half of the book.*I want to say that Chessy repeatedly points out that she understands her privilege based on her status and class. Her family could afford to fly up for every court hearing, to rent a house in the city of the trial and have her whole family with her, to have connections that could help her discover information, combat cyber-bullying etc. Most families do not have access to these resources. Does her status make her story less worthwhile? No.Even with her privilege, it was still a painful and very difficult process. In fact, in some ways I think the power the school community wielded with their money & status to embrace her attacker and blame the victim added to the pain of the experience for Chessy & her family. One of the things that I took away from this was the way Chessy and her family were galvanized to learn from their experiences and help educate others. I think that is one of the things that makes this tale different from others; our ability to see Chessy and her family move through the whole process together and how they chose to move forward in their lives, forever changed by one night and a community's ensuing response to the event. We cannot all become advocates or hashtag trendsetters, but we do need stories of those who are able to do so. Obviously, the best case scenario would be that there were no more sexual assaults. But barring that, a more survivor friendly system, a society that does not shame victims, and examples of how to move forward after an assault are sorely needed. I think that is why this story ended up resonating with and moving me after all. A very powerful read.
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Ebook Free Ethics of the Real: Kant and Lacan (Radical Thinkers)
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Ethics of the Real: Kant and Lacan (Radical Thinkers)
Ebook Free Ethics of the Real: Kant and Lacan (Radical Thinkers)
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Review
“If Zupancic's book does not become a classic work of reference, the only conclusion will be that our academia is caught in an obscure desire to self-destruct.”—Slavoj Žižek
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About the Author
Alenka Zupan?i? is a researcher at the Institute of Philosophy in the Slovene Academy of Sciences, Ljublijana
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Product details
Series: Radical Thinkers
Paperback: 282 pages
Publisher: Verso; Reprint edition (January 16, 2012)
Language: English
ISBN-10: 1844677877
ISBN-13: 978-1844677870
Product Dimensions:
5.2 x 0.6 x 8 inches
Shipping Weight: 8.8 ounces (View shipping rates and policies)
Average Customer Review:
4.2 out of 5 stars
6 customer reviews
Amazon Best Sellers Rank:
#871,183 in Books (See Top 100 in Books)
Great book!
There is something in our moral economy that makes it unsustainable. We live off an accumulated stock of beliefs, norms, and values. But we are depleting our reserves, and running out of fuel. We need to develop new sources of moral energy that will allow us to grow on a sustained basis. From its origins, mankind has known such a source of energy available in unlimited supply: desire. Desire is what drives us, what makes our world go round. It produces more heat than it consumes, and can generate enormous power.But desire has traditionally been excluded from the field of ethics. Indeed, it was seen as opposite to the moral law, as a force blocking access to the moral high ground. As Alenka ZupanÄiÄ writes in her introduction, the term ethics is often taken to refer to a set of norms which restrict or `bridle' desire. Yet this understanding of ethics fail to acknowledge that desire is a component of ethics which cannot simply be eliminated without ethics itself losing all meaning. Better still, a moral economy built upon desire escapes the law of diminishing returns and of resource depletion. Tapping the source of desire will allow the moral subject to grow indefinitely.According to Lacan, Kant was the one who introduced the dimension of desire into ethics, and brought it to its `pure state'. To desire is to demand the impossible, and this is precisely what Kantian ethics compels us to do. For Kant, duty is "a respect for something entirely different from life, in comparison and contrast to which life and its enjoyment have absolutely no value." Death itself, if duty tells us so, can be pursued as a moral act. Like the starry heavens above, the moral law is what fills the mind with shock and wonder.Kant was not the stern and boring moralist that philosophy textbooks would have us believe. His positions on `the right to lie' or on radical evil seem to be, strictly speaking, inhuman. Some of his commentators have indeed expressed reservation or even repulsion at the practical implications of his ethics. For Kant, nothing, not even the love of our fellow-man or the law of self-preservation, can justify us in making an exception to the moral law. If my act conforms with duty and if it is accomplished only for the sake of duty, then it is an ethical act. Here the ethical man is disturbingly close to the pervert--who attributes to the Other (to duty or to the Law) the surplus-enjoyment he derives from his action.French literature offers us several figures of radical evil or perversion. In Dangerous Liaisons, Valmont breaks off with his lover by repeating: "It is not my fault", hiding the enjoyment he derives from betrayal behind a supposed respect for nature's law. But it is Sade who has brought literary perversion to its most incandescent point. Reading Sade as a moralist, deriving a code of ethics from his Philosophy in the Bedroom, has been a constant temptation for French intellectuals. Foreigners are sometimes puzzled by the high respect that Sade commands upon French thinkers since the beginning of the twentieth century. Could Sade provide the template for a new ethics beyond good and evil, a morality in tune with our time of moral confusion?It is well known that Lacan wrote an essay entitled `Kant with Sade' in which he brings to our attention the extraordinary proximity of Kant and Sade. This notoriously difficult text has been a source of inspiration and commentary for many philosophers claiming the Lacanian legacy. They often add more confusion than light, and project upon Lacan's reading of Kant and Sade their own proclivities. Taking her readers through a step-by-step approach, and treating her subject with utmost rigor and clarity, ZupanÄiÄ offers the most compelling interpretation of Kant avec Sade that I have had the chance to read. According to Kant, to act without allowing pathological incentives to influence our action is to do good. But so is radical evil, as Kant himself was forced to consider when discussing the execution of the monarch by French revolutionaries. In other words, at the level of the structure of the ethical act, the difference between good and evil does not exist. At this level, evil is formally undistinguishable from good.Providing a close reading of Kant with Sade alone would constitute a considerable achievement. But ZupanÄiÄ does not stop here. She transforms Kant into a Lacan avant la lettre by pointing the many parallels and convergence between Kant's doctrine and Lacan's ethics as developed in particular in Seminar VII. She offers literary digressions on Laclos's Les liaisons dangereuses and of Molière's Don Juan, again based on Lacanian principles. She revisits Lacan's cursory remarks on great works of tragedy, such as Hamlet, Antigone, Sophocles' Oedipus, and the Claudel trilogy beginning with The Hostage.Any commentator is bound to compare Alenka ZupanÄiÄ's work with Slavoj Zizek's own writings. They belong to the same Slovenian school of Lacanese psychoanalysis. Why Slovenia? Why Lacan? None of what I read provides any satisfying explanation, but footnotes offer some clues. Like Zizek, ZupanÄiÄ has read and maybe attended Jacques-Alain Miller's seminar. She is also in familiar terms with Louis Althusser's philosophy. All this points toward an intellectual constellation that defined Parisian chic in the late seventies, and that was somehow transplanted in Ljubljana where it prospered in a hotbed atmosphere functioning in closed circuit. Globalization and the end of communism brought this mix of Lacanianism and continental philosophy to the world, something the enterprising Slovenians were better able to do than the French, with their poor command of English and their disregard for anything beyond Parisian limits.There are marked differences between ZupanÄiÄ and Zizek, however. For a start, the "Big Z" is much more productive. I am amazed at the rhythm by which he churns out massive volumes, his last opus on Hegel being more than one thousand pages long. By contrast, Alenka ZupanÄiÄ is more parsimonious, this being her first entry in an oeuvre that counts only three essays. Second, ZupanÄiÄ does not share Zizek's taste for lowbrow pop culture and radical provocations. She prefers to comment literary masterworks than cheap Hollywood flicks or TV series. She keeps her politics to herself, with only limited allusion to a feminist agenda that Zizek would deride as utterly conventional. She offers a Zizek with a "small z", a Zizek without the ebriety and obscene excess. She sits safely in the driver's seat, and won't enter the skids and car rolls that often make Zizek end up on the wrong side of the road. Her Ethics of the Real is a demanding read, yet accessible even to the lay reader without any notion of classical philosophy or modern psychoanalysis.
This book is necessary reading for anyone interested in learing about Lacan as well as for anyone already versed in Lacanian theory. Zupancic is a former pupil of Slavoj Zizek, and though some of her style reflects that relationship, for the most part, she does not deploy the same strategy of jokes and movies; so expect nothing but serious philosophical discourse. It tackles with depth and clarity the issue of a "Lacanian ethics," which Lacan himself developed in and after seminar VII on that very topic. Since much of Lacan's seminars are not published in English, it is very nice that Zupancic moves in and out of the body of Lacanian theory to pull together what she is calling an "Ethics of the Real." Perhaps, what is most informative about this book is how it clarifies the distinction between desire and drive in their respective relations to the Real. Unlike most Lacanians, Zupancic is not interested in making outlandish statements, but rather, is engaged in a very serious conversation with Kant and Greek tragedy (she also clarifies why Lacan is constantly interested in tragedy). Indeed, Zupancic is the proverbial student who overcomes her master as this first book of hers already rivals the best of Zizek's own work.
Man is not as moral as he believes, but he is also more moral than he believes himself to be. The first half of this seemingly paradoxical statement tells us what we already know: beneath a "reputable", ethical facade, man is driven pathologically, he is a merely a slimy effect of symbolically situated will and social edifice. The second half of this statement is of Lacanian/Kantian import, the truly subversive gesture: the subject is (ethically) free qua empty "link" between cause and effect, qua position of enunciation - he is both answerable to the lack in the Other and the cause of it. Find out why Lacan was Kantian and Kant was, in a way, Lacanian - in short, read this book: it is a genuine piece of scholarship.
There are lots of clever books about Lacan, but often they are too clever for their own good (or the reader's good), simply compounding Lacan's own obscurity. This is not an easy book but you can't fault it for any lack of clarity. Unlike many Lacanians, she actually gives examples for her abstract claims, since she is not afraid to test the abstract on the concrete. Her analysis of 'Dangerous Liaisons' is brilliantly incisive. What Zizek says about her unquestionable value in the book's blurb and the preface turns out to be a fact. Great book! Don't miss it.
For someone who already has a fixed view of Kant's philosophy and would be interested to see it re-cast in a new light, there are some interesting points to be found in this book. Unfortunately, to get to those points you will have to dig through Zupancic's extremely tangled and self-indulgent writing style. She employs the same rhetorical devices over and over to shoehorn in strings of words without being clear about where they are meant to fit. For example, instead of saying "this is similar to..." or "this follows from...", she will always say something vague and wordy like "let us co-ordinate point this alongside...", in effect allowing herself to just dump the idea out and leave it to the reader to find a connection for himself. She also loves to compound rhetorical questions inside other rhetorical questions, so that the exact point she's trying to make is never plainly in sight.Again, if you really want to see someone's take on Kant as colored by Lacan's concept of the Real, then this book might be worth suffering through. For anyone else, I don't know what the attraction would be.
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The substance of this book deserves 5 stars or a bit more; my review and star-rating are specifically about the 2015 complete edition translated by Richard Howard and Annette Lavers (H&L).I first read this book in French more than 35 years ago, in my 20s. My French wasn't so good, and my progress was slow, but the book nonetheless struck me as funny and wonderfully off-kilter. The prose style was playful, but also clear. It didn't hurt that the historical era Barthes was talking about wasn't so far removed from my own awareness (I was born during the period when the articles were written). His way of looking at everything precisely, but from an unorthodox perspective and with a sense of ironic humor, had a deep influence on my own writing when I started writing a magazine column a few decades later. More recently, it's also influenced my teaching.I came to this translation thinking of assigning some essays as reading for college students in a business program. It didn't take long to ditch that idea: this translation would make it too tough for most of them to share my enthusiasm. The historical distance of the subject matter wasn't the problem -- some annotations and illustrations could help with that. In fact, one of the benefits of this edition is a small insert of illustrations to help the 21st Century reader visualize what Barthes was writing about. Many essays also have a short introductory footnote on their first page, providing historical context. The real problem is with the tone of the translation -- it makes Barthes sound insufferably pretentious and fussy. If you've ever been to a university party where some middle-aged professor is getting carried away with the sound of his own voice, it's a bit like that. If I'd begun with this version instead of the original, I'm sure I'd have gotten impatient with it about a third of the way through.Given how shaky my French was when I read the book the first time, I wondered whether maybe this translation captured the essence of Barthes, to which I'd been insensitive earlier. I've read a lot more French since then, including some dull and pretentious stuff. But when I checked now, Barthes still isn't that. Despite occasional flourishes (but precise ones), his vocabulary is mostly pretty clear -- which is how I managed to make it all the way through so many years ago. His sentences are long and full of clauses, but they have a rhythm lacking here.One particular issue I noticed from a random comparison is that the translators often distort the syntax that gave structure and poise to the French original. Here is an example from one of the more political essays, "The Cruise of the 'Batory'," contrasting the magazine Le Figaro's coverage of a 1955 French cruise taking tourists to visit the USSR with that of the refusal of some French soldiers to fight in Algeria. According to the magazine, the cruise had given the Russians a glimpse of a sort of cheerful anarchy and individualism among the disorderly French. Barthes's original essay ends as follows:« Lorsque quatre cents rappelés de l’armée de l’Air ont refusé, un dimanche, de partir pour l’Afrique de Nord, _Le Figaro_ n’ a plus parlé d’anarchie sympathique et d’individualisme enviable : comme il ne s’agissait plus ici de musée ou de métro, mais bien de gros sous coloniaux, le “désordre†n’était plus, tout d’un coup, le fait d’une glorieuse vertu gauloise, mais le produit artificiel de quelques “meneurs†; ile n’était plus prestigieux mais _lamentable_, et la _monumentale indiscipline_ des Français, louée tout a l’heure de clins d’oeil loustics et vaniteux, est devenue sur la route d’Algerie, trahison honteuse. _Le Figaro_ connait bien sa bourgeoisie: la liberté en vitrine, à titre décoratif, mais l’Ordre chex soi, à titre constitutif. »Here is the translation in this edition:“When four hundred Air Force veterans, called up for North African service, refused to serve one Sunday, _Le Figaro_ no longer spoke of the sympathetic anarchy and enviable individualism of the French: no longer any question here of museum or metro, but rather of colonial investments and big money; whereupon ‘disorder’ was no longer the phenomenon of a glorious Gallic virtue but the artificial product of a few ‘agents’; it was no longer glamorous but _lamentable_ and the _monumental lack of discipline_ of the French, formerly praised with so many waggish and self-satisfied winks, has become, on the road to Algeria, a shameful treason. _Le Figaro_ knows its bourgeoisie: freedom out front, on display, but Order back home, a constitutive necessity.†(@148)A few observations about this translation:(a) In the first sentence of the passage Barthes strings together three sentences into one - but each clause is a complete sentence. One translation strategy might have been to punctuate the passage differently as two or three distinct sentences. Instead H&L retain the one-sentence structure but make the flow choppier by subdividing into into four chained clauses, including two sentence fragments (“no longer any question here …†and “whereupon…â€). In doing so, they also make it hard for the reader to see the causal relationship between the topics of those two fragments. Compare a translation of Barthes’s middle clause roughly as follows: “as it was no longer a matter of museum or metro, but of big colonial bucks, ‘disorder’ suddenly wasn’t the result of a glorious Gallic virtue but the manufactured product of a few ‘agents’â€.(b) H&L insert formal and lengthy words where they weren’t present in the original: e.g., “whereupon†rather than “suddenly†for ‘tout a l’heure,’ “a constitutive necessity†for the adjective ‘constitutif,’ “phenomenon†rather than “result†for ‘fait,’ and “colonial investments and big money†for the intentionally coarse ‘gros sous coloniaux’ (as in “big colonial bucks,†“colonial big money†or something similar).(c) In the last sentence, H&L erase Barthes’s balanced contrast of freedom and order as reflected in the parallel syntax of the concluding clauses. They also downplay his irony by omitting the adverb “bien†(‘well’), and ignoring the bourgeois resonances of “vitrine,†connoting a shop window. Something closer to the sense of Barthes’s last sentence might be: “_Le Figaro_ knows its bourgeoisie well: freedom on display in the shop window, as decoration, but Order at home, as foundation.â€All in all, the translators’ choices make Barthes seem much more pompous and distant from the reader than he really was; and in passages like the one just quoted, they also downplay his political engagement.Many reviewers here on Amazon managed to enjoy this book despite the problems I've described. If you don't read French, don't let my review discourage you from picking up this book. But if you get frustrated with it, please remember that in the original it's a much more elegant, humorous and brilliant read than comes across from this version.
This is a very thoughtful and philosophical book that explores the ways we construct modern myths in today's society. I referenced this book for my Master's thesis and honestly, it made me fall in love with Barthes and his approach to visual semiotics. He demonstrates the way socially constructed ideas can be normalized in the media, elevating them into unquestioned, everyday assumptions we make about the world.While Barthes wrote this book in the 1950s, the messages apply even more today. In our post-truth society, it's easier now more than ever to buy into fake or misleading information; satire and conspiracy can so easily spread virally via social media, even fooling journalists who should be more discerning about the information they share. Reading this books enlightens the reader to processes that continue to take place, helping reveal the need for personal critical thinking skills in a time when false information seems to largely go unchecked and is so easily accepted as true. With Barthes' help, we can challenge culture and the mythologies it tends to create.
The 1990’s American teen in me was more than slightly confused a few essays into Roland Barthes’, Mythologies. I was even more so confused after googling “Elle France,†and finding out my connection was indeed accurate, and that the ‘Elle’ that Barthes continuously refers back to, is indeed the French counterpart to the American Elle magazine. The image of Barthes sitting in study reading a woman’s’ fashion and lifestyle magazine full of articles on “how to dress for your body type,†or “101 ways to please your man,†popped into my head a few times. Chuckles aside, I admit that I had to remind myself that it was 1957 more than a few times. Oddly enough, though Barthes undoubtedly had no idea what the connotation of Elle would become, its current meaning and presence in Mythologies is one that adds to some of the myths. Mythologies as a whole is based on society. There are stories, facts, and metaphors that cross generations, burying themselves as validation as myths. Barthes draws a great deal of his reactions from Elle, and those reactions live in a patriarchal universe. This is not so much a critique of Barthes and his view on society, as it is an observation on society and reality. Thematically men are at the top of society, children strive to grow into men, and women are allowed freedoms, but at the end of the day, their position is to bear children and care for the home. Reminder: It’s 1957.The first essay I read from Mythologies was “Novels and Children.†A feminist would have a field day with this essay (you’ve read it, so you know why). Personally, I wanted to pat the women mentioned in Elle on the back and congratulate them for writing their books while caring for their children, husbands and home. I’m there right now: terrible twos, a colicky newborn, endless laundry, cooking, dishes… and writing and school. Here’s the thing- 1957 or 2016, it doesn’t matter, the struggle for women to balance work and home is still essentially the same. I say essentially because society has changed to where it is not dictated, but for those who believe in the system, we live in the myth. Our husbands provide and we in turn bear children and take care of the home, often becoming superwomen for achieving careers and success as well. There is more equality today, but the bare system is still present. This system moves down to the children as well. In “Toys,†Barthes repeatedly defines his explanation as specifically relating solely to French toys. As I read “Toys†though, I can’t help but look around my living room and connect the dots. My living room has a little tykes grill, kitchen set, trucks, trucks, more trucks, and the plastic version of every tool you can possibly imagine… and blocks. Again, a theme that crosses time. Sixty years and a continent later, home life has not changed that much. We are undoubtedly, as Barthes connects, “creating the future...†“We present our children with miniature objects of adulthood and they take from it, what they will become... and admittedly, I’m rethinking some of my choices in toys now.While some of Barthes myths are relatable across times and nations, not all are. Barthes know this and points it out in “Striptease†and “Wine and Milk.†Some nations have common thought and systems within themselves. The French are different than Americans in not only some of their customs, but also their behavior. Mythologies explores the social power (or restraint or common behavior) that is present in French society. What is powerful is that things that would breakdown an individual in another society has no effect or power over the Frenchmen. A naked woman does not cause men or women in France to blush (so much as the act of stripping down would), just as wine does not cause them to become drunk (in so much as they do not purposefully overdrink). There is restraint in society, the French have control over their actions and the portrayal of themselves. In both myths it is the act of doing something that is meaningful and not the conclusion of that act.The veil in society is broken down in “Ornamental Cookery.†This essay also brings us full circle back to Elle, which still has me seeing Barthes red cheeked (though this essay makes it easier to remember its 1957), “Ornamental Cookery†was a validation of sorts for me. Barthes addresses Elle as a bit lackluster in terms of credible sources, but nevertheless, there is no doubt that the magazine in all of its 1957 glory is a reflection on society. However, the reflection on society is more connotation that denotation. “Ornamental Cookery†in its plainest version is descriptive of food recipes popular in the 1950’s. These recipes often called for dishes to be smothered in sauces, decorated, and glazed in a manner so that one cannot really tell from the surface what is underneath. “Ornamental Cookery†is a metaphorical essay that brings us back once more to the overall discussion on society, where individuals can cover themselves to appear appealing. This phenomenon is yet another idea that crosses time. The idea that people are never truly what they appear to be, and can hide their true identity. Mythologicaly, it reads almost as a warning, as much as it might appear to be advice.I think we are meant to see ourselves in Mythologies. Perhaps not each and every essay is conclusive with a readers life, but I could not help but find similarities with most of the essays that I read. While society will change with time, with location, with governing, the basic structure will remain. That is the mythology of the society.
such a fun book to read. its a little weird at first but as I started to look into the different reasons why he wrote about certain topics it really made me think and have some interesting convos with people.
This is the full edition - often you come across editions that leave out the wonderful and scathing depcition of a Billy Graham crusade in Paris
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I have a confession: I love the recent plethora of young adult fiction. Not Twilight - I have standards, after all, but it busted the floodgates wide open and now we're swimming in some great, thoughtful and provocative YA Lit. From Katniss Everdeen and Percy Jackson to the Pure trilogy, the YA world is delighting young adults (and some of us not-so-young) with creative and original fantasy.Another confession: I don't often hold Christian art in high regard (at least not since the Renaissance). We tend these days to be derivative. And I say this as a guy who had a Christian Music Recommendation Poster on my bedroom wall in high school. So after the Christian Harry-Potter-Haters had their 15 minutes, I felt sure we were destined for a glut of bad Christian knock-off fiction.I'm pleased to report that DOON by Carey Corp and Lorie Langdon breaks the mold.Doon is the retelling of the legend of Brigadoon (yes, the one from the Gene Kelly musical). It's one of the launch titles for Blink, a new YA imprint from Zondervan. If Doon is any indication, Blink is publishing books that have a distinctively Christian worldview but tell stories for their own sake (not to preach or teach). But enough about that. How is Doon?Doon introduces us to Veronica and McKinna, two girls who plan to spend the summer in Scotland. As they prepare to embark, Veronica begins to have visions of a man in a kilt. Since this is a YA novel (and, you know, there's a sweet castle on the cover), we're not surprised that they're transported into a magical kingdom shortly after they arrive in Scotland, or that the eternal fate of said magical kingdom rests squarely on their shoulders.Doon is a great YA book. But is it good Christian fiction?Fair warning: minor Doon spoilers follow.Neither Veronica nor McKenna is a Christian. But the kingdom of Brigadoon is, explicitly. They attribute their continued existence to the Protector, a clear allegory for the Christian god (and since they're sort of medieval Scottish, what else would they be?) Though the point of the story isn't just to talk about God, the mystical nature of Brigadoon forces Vee and Kenna to confront their (lack of) faith.But their spiritual journeys aren't artificial or forced. Nor do they resolve clearly (of course, we have been promised three more books). This is the power of fantasy: by putting ordinary teens into an extraordinary scenario, these conversations feel organic.Since Doon is fantasy, teens thinking deeply about God is probably the most realistic aspect of the story.More generally, the best part of Doon is the girls themselves. Vee and Kenna feel like real teenage girls. They have real insecurities and a real, strong friendship. As the Doon series gains popularity, we're going to see their friendship celebrated: far from the frenemy relationships we see in most depictions of teen girls these days, Vee and Kenna are each other's biggest fans. Far from exploiting each others' weaknesses, they complement each other, forming a team that's stronger together.Speaking of which, Doon also deserves to be commended for its girl-power ending. Despite the fact that they're telling a modern fairy-tale, Vee and Kenna are no damsels in distress. They drive the plot, they resolve the conflict. They even save the beautiful dudes in distress.Why should Christians celebrate Doon?Because it's got strong female characters who model healthy friendship. Because it has believable, relatable teens thinking honestly and seriously about God. And because this is a story written by two Christians who put the story first and trusted the power of story (and their faith) to be compelling enough. Let's hope for plenty more where Doon came from.Bottom Line: If you like YA, you'll like Doon. Let's hope it sets a new trend for thoughtful, engaged Christian literature.
So, I was flying to Scotland, my first time there, and thought a nice Scottish setting for a quick flight read would be a perfect idea and get me on the wavelength of my destination. Well, "Doon" did just that and, unfortunately, sort of didn't. The story line with a magical kingdom, princes in kilts, soulmates and magic are definitely wonderful mood setters for the land of Jamie Fraisers, but the story itself was disappointingly weak and juvenile.Basically, the story didn't surprise me in any way, neither did it distract me enough with positive aspects for me to close one eye for the glaring cliches and seen-a-million-times-already tropes. The latter mostly followed their typical mold and didn't upgrade or offer any new perspectives. As I said, the book had potential and it seems almost impossible to go wrong with sexy Scottish guys and wonderful highland castles, but setting alone doesn't make a story, characters, their relationships, dialogue and the basic outline of the plot also have input. I'm genuinely sad, because all the latter aspects were lacking a bit or quite a lot.Surprisingly enough, I quite liked Veronica and Mackenna, even though they kind of blended into one a lot and I got confused on who was currently narrating. There just wasn't satisfactory differences between them that I could constantly feel and that would help me to tell them apart. Yes, one liked theater and the other dancing, but that was basically where the major pinpoint-able differences ended. Also, Veronica was a bit too troubled, with her alcoholic mother, sleazebag future step-dad, cheating boyfriend, druggie father, etc. Dual narrating by the two main female characters was a fresh idea, though. Also, having two romances in one story is always a bonus in my eyes.Now to the guys. Duncan was lovable and cheerfuly charming, so I liked him. Jamie was a little difficult to warm up to, mostly due to his hostile treatment of supposed soulmate Veronica. He treats her bad, for all the noble reasons of course, and she takes it like a champ or, in common language, doormat. I didn't in any shape or form get the impression that they were destined to be together. I didn't buy it. Their ending was kind of sweet and Cinderella-ish, though, so there's that. Needless to say, I preferred Duncan and Mackenna's love-dance. Firstly, it was cute, teasing, less angsty and believable. Secondly, their story wasn't finished, so there's time to develop their relationship and not solely rely on the word "soulmates" to explain their romance.The setting as well had it's issues. It simply didn't feel real, which, of course, it isn't supposed to, being a magical parallel world and all, but it came across superficial and fake. They had sushi, their own local pizzeria, modern toilets, etc. Good plumbing is always a win for the characters, but not for me as a reader, because adding these details made it difficult to take the setting seriously. It helped loose the mysterious cursed magical kingdom charm. It also made a lot of things too convenient. Adding here the rings, the journal and other factors, convenience was at times a real issue, even tough, some of the artifacts were quite intriguing (eg. the rings). Also, I would have preferred less time spent of having the girls be tourists, because a lot of time was spent on so called excursions.Now, for some good parts, which contrary to my previous tone, weren't completely lacking. I really liked the twist in the end and the choice the girls had to make. One of their decisions I was very satisfied with, because it was realistic and didn't make things too easy. The final act was also pretty intense. Finally, I genuinely liked the premise, which could have been executed considerably better, but it was a promising idea.
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