Women in Irish History Series.

Examines the roots of feminism through profiles of eight English and American women of the nineteenth and early twentieth centuries

The last morning star symbolizes all that is ephemeral in this world. Talking on the playful and provocative poetry of Daya, Osho takes us on a journey from the transient, from our world outside, to the eternal, our boundless world within. This is the journey of the heart - the joyous, spontaneous, and at times uncompromising way of an enlightened woman mystic. 'Bear this in mind. When the dissatisfaction you have with thins is turned inwards and the contentment that you have towards the inner is turned outwards, you have already become a religious person. You only have to make this small change.' - Osho

The first comprehensive history of the oldest religious Jewish women's organization in the U.S., Gone to Another Meeting charts the development of the National Council of Jewish Women and its impact on both the Jewish community in the United States and American society in general.

Mothers, wives, concubines, entertainers, attendants, officials, maids, drudges. By offering the first comparative view of the women who lived, worked, and served in royal courts around the globe, this work opens a new perspective on the monarchies that have dominated much of human history. Written by leading historians, anthropologists, and archeologists, these lively essays take us from Mayan states to twentieth-century Benin in Nigeria, to the palace of Japanese Shoguns, the Chinese Imperial courts, eighteenth-century Versailles, Mughal India, and beyond. Together they investigate how women's roles differed, how their roles changed over time, and how their histories can illuminate the structures of power and societies in which they lived. This work also furthers our understanding of how royal courts, created to project the authority of male rulers, maintained themselves through the reproductive and productive powers of women.

In contrast met onze hectische samenleving ontdekken steeds meer ouders het belang van rust en stilte in het leven van kinderen en gaan op zoek naar wegen om hier concreet aandacht aan te besteden. Dit boek voorziet precies in deze behoefte. Het biedt onderwijsgevenden en ouders vooral concrete en praktische handreikingen om meer met aandacht en stilte te doen. Aandacht bevordert de concentratie en voorkomt oppervlakkigheid. Het waarnemen van stilte herstelt de balans tussen rust en activiteit. Stilte maakt de ‘religieuze’ dimensie van het leven tastbaar. De aangereikte oefeningen zijn talrijk en goed uitgewerkt en getuigen behalve van variëteit ook van creativiteit. Het gaat niet alleen om het individuele kind maar vooral ook om een intensiever en vervulder gemeenschappelijk ervaren van aandacht en stilte.

Hoe gebruik je HET OCULATUM? Dit boek zonder begin, midden of einde mag in alle richtingen worden gelezen. Het geheim van HET OCULATUM ligt in de kracht van de individuele keuze. JIJ beslist wat de voor-, de achter-, de boven- en de onderkant van dit boek is. Het is niet belangrijk om de betekenis van de gevonden frase direct te doorgronden, maar laat hem goed tot je doordringen door hem zesmaal te herhalen. En binnen enkele dagen zul je helderder, zelfbewuster, frisser en krachtiger in het leven staan

German society's inability and/or refusal to come to terms with its Nazi past has been analyzed in many cultural works, including the well-known books Society without the Father and The Inability to Mourn. In this pathfinding study, Susan Linville challenges the accepted wisdom of these books by focusing on a cultural realm in which mourning for the Nazi past and opposing the patriarchal and authoritarian nature of postwar German culture are central concerns—namely, women's feminist auto/biographical films of the 1970s and 1980s. After a broad survey of feminist theory, Linville analyzes five important films that reflect back on the Third Reich through the experiences of women of different ages—Marianne Rosenbaum's Peppermint Peace, Helma Sanders-Brahms's Germany, Pale Mother, Jutta Brückner's Hunger Years, Margarethe von Trotta's Marianne and Juliane, and Jeanine Meerapfel's Malou. By juxtaposing these films with the accepted theories on German culture, Linville offers a fresh appraisal not only of the films' importance but especially of their challenge to misogynist interpretations of the German failure to grieve for the horrors of its Nazi past.