Can a modern wife be submissive to her husband? In her highly anticipated sequel to My So-Called Life as a Proverbs 31 Wife, author Sara Horn takes on one of the most widely debated subjects for a Christian wife-marital submission. What does biblical submission look like for wives today? And why is submission viewed as such a dirty word by so many women and men in our culture, including Christians? Can a happily married couple live out the biblical model of submission and be the better for it? Horn takes on a one-year experiment to seek answers to these questions and to explore what it means to be submissive as a wife and "helper" to her husband. The answers-and her discoveries-may surprise you. This unique, entertaining, and thought-provoking personal account will challenge women to throw out their preconceived notions of what a submissive wife looks like and seek fresh leading from God for their lives and marriages today.
Rough Romance: Secrets Of A Submissive Housewife Short Description: "Gabe, my husband, was due to go on another out of town trip. I was a little pissed about it, because it was company team building exercise and was going to go throughout the weekend. He was leaving on Friday morning and I’d only see him again on Monday evening. It was very unusual to have him away over the weekend. That was our sacred time. We spent it together, always. With both our busy schedules, we needed that time to relax and rejuvenate ourselves. So, I let him know I wasn’t happy, but there wasn’t much I could do about it. As a director of the company, Gabe had to be there. I gave him the usual loving send off, and as soon as he’d left, I started thinking about the phone call I’d had from Ty two days earlier. Ty had called me wanting to know when my husband was away again. Normally he waited for me to call him, so I wondered what he was up to. I told him that it was the coming weekend, and all he’d say to me was that he had a surprise for me. It was something I’d always wanted to do, and he would pick me up on Saturday afternoon." * Included are four erotic short stories (Sleepover, Gangbang, Boundaries, Roxie).
Grounded in the cognitive-behavioral approach, The Dilemmas of Intimacy focuses exclusively on understanding, assessing, and treating common problems with intimacy. Intimacy offers both risks and rewards, which create three dilemmas that every couple must negotiate: joy vs. protection from hurt, I vs. we, and past vs. present. These dilemmas offer readers a window into the treatment of intimacy problems, and help them to structure formulations, treatment goals, and therapeutic strategies. Unique to this book is the author’s “Intimacy Signature,” which is a comprehensive system for assessing couples’ intimacy issues, and offers a four-step formula for translating assessment data into therapeutic strategies. Along with the book, readers will have access to a web resource page that includes the Intimacy Signature assessment: therapist worksheets (that help match presenting problems to probable intimacy dilemmas), checklists of strengths and areas of vulnerability to assist the clinician in making a prognosis, a client take-home packet, and therapist tools for intervention (including therapist-client dialogues).
In this book, Gene Landrum, one of the world's foremost authorities on entrepreneurship, presents: Dr. Gene's 12 Laws of Entrepreneurial Genius. Professor Landrum begins with biographical overviews of a dozen of the most interesting and powerful entrepreneurs of recent vintage. He identifies their unique eccentricities and then shows the personality traits that they all have in common. These are the attributes that constitute the genius of the great entrepreneur. To enable you to compare your personality attributes with those of the great entrepreneurs who have achieved billionaire status, Professor Landrum has included in this book a self-assessment exercise.
1967. Kenneth and Sandra know the world is changing. And they want some of it. Love, Love, Love takes on the baby boomer generation as it retires, and finds it full of trouble. Smoking, drinking, affectionate and paranoid, one couple journeys forty-years from initial burst to full bloom. The play follows their idealistic teenage years in the 1960s to their stint as a married family unit before finally divorced and, although disintegrated, free from acrimony. Their children, on the other hand, bitterly rail against their parents' irresponsibility and their relaxed, laissez-faire attitude. This play by Olivier award-winning writer Mike Bartlett questions whether the baby boomer generation is to blame for the debt-ridden and adrift generation of their children, now adults but far from stable and settled. This edition features an introduction by James Grieve, who directed Love, Love, Love at the Royal Court, London.
This stimulating collection of essays in ethics eschews the simple exposition and refinement of abstract theories. Rather, the author focuses on everyday moral issues, often neglected by philosophers, and explores the deeper theoretical questions which they raise. Such issues are: Is it wrong to tell a lie to protect someone from a painful truth? Should one commit a lesser evil to prevent another from doing something worse? Can one be both autonomous and compassionate? Other topics discussed are servility, weakness of will, suicide, obligations to oneself, snobbery, and environmental concerns. A feature of the collection is the contrast of Kantian and utilitarian answers to these problems. The essays are crisply and lucidly written and will appeal to both teachers and students of philosophy.
This is the first anthology to bring together a selection of the most important contemporary philosophical essays on the nature and moral significance of self-respect. Representing a diversity of views, the essays illustrate the complexity of self-respect and explore its connections to such topics as personhood, dignity, rights, character, autonomy, integrity, identity, shame, justice, oppression and empowerment. The book demonstrates that self-respect is a formidable concern which goes to the very heart of both moral theory and moral life. Contributors: Bernard Boxill, Stephen L. Darwall, John Deigh, Robin S. Dillon, Thomas E. Hill, Jr., Aurel Kolnai, Stephen J. Massey, Diana T. Meyers, Michelle M. Moody-Adams, John Rawls, Gabriele Taylor, Elizabeth Telfer, Laurence L. Thomas.
Taking into account the popularity and variety of the genre, this collaborative volume considers a wide range of English Romantic autobiographical writers and modes, including working-class autobiography, the familiar essay, and the staged presence. In the wake of Rousseau's Confessions, autobiography became an increasingly popular as well as a literary mode of writing. By the early nineteenth century, this hybrid and metamorphic genre is found everywhere in English letters, in prose and poetry by men and women of all classes. As such, it resists attempts to provide a coherent historical account or establish a neat theoretical paradigm. The contributors to Romantic Autobiography in England embrace the challenge, focusing not only on major writers such as William Wordsworth, De Quincey, and Mary Shelley, but on more recent additions to the canon such as Mary Robinson, Dorothy Wordsworth, and Mary Hays. There are also essays on the scandalous Memoirs of Mrs. Billington and on Joseph Severn's autobiographical scripting of himself as "the friend of Keats." The result is an exploratory and provisional mapping of the field, provocative rather than exhaustive, intended to inspire future scholarship and teaching.
The Wizard of Oz has captured the imagination of the public since publication of L. Frank Baum’s first book of the series in 1900. Oz has shaped the way we read children’s literature, view motion pictures and experience musicals. Oz has captured the scholarly imagination as well. The seventeen essays in this book address numerous questions of the boundaries between literature, film, and stage—and these have become essential to Oz scholarship. Together the essays explore the ways in which Oz tells us much about ourselves, our society, and our journeys.
Taking into account the popularity and variety of the genre, this collaborative volume considers a wide range of English Romantic autobiographical writers and modes, including working-class autobiography, the familiar essay, and the staged presence. Major writers such as William Wordsworth, De Quincey, and Mary Shelley, and recent additions to the canon such as Mary Robinson, Dorothy Wordsworth, and Mary Hays are treated in this exploratory mapping of the field.