Bad faith as the author calls the dissonance between what we profess to believe, how we act and how we interpret our own behaviour, is more than a theme in Mark Twain. Robinson shows that Twain's bleak view of man's social nature, his nostalgia, his ambivalence about the South and his complex relationship to his audience, can all be traced to an awareness of the deceits at the core of his culture.
This is a study of Baudelaire's canonization in the critical debates of the twentieth century, focusing particularly on his role in the development of a modernist consciousness. Much recent work on Baudelaire assumes his modernism by emphasizing his relationship to current critical preoccupations—by sounding him out on issues of race and gender, for example, or by "correcting" his politics. The author begins from the premise that this updating of Baudelaire mistakenly takes him for our contemporary. Instead, she attempts to treat modernism as a historical problem by seeing Baudelaire as engaged in a more difficult dialogue with twentieth-century critics. The book concentrates on two key moments in the literary history of the twentieth century, the periods following each world war. At these junctures French intellectuals intensely reconsidered their cultural patrimony and articulated something like a modernist consciousness. Baudelaire stood at the center of this process, becoming a sacred figure of modernism, and his poetry contributed to a radical reorienting of aesthetic sensibilities. For the post-World War I period, the author focuses on Paul Valéry's essay "Baudelaire's Situation"; for post-World War II, on the virulent debate between Jean-Paul Sartre and Georges Bataille over the question of Baudelaire's "bad faith." She argues that Sartre's resistance to the sacralization of Baudelaire and to the continuing formulation of a modernist ideology actually suggests a valuable way of rethinking Baudelaire's poetry and critiquing the modern consciousness. She attempts to show that something like an "aesthetics of bad faith" exists, and that it is a useful concept for understanding modernism in relationship to its own history. Throughout, Baudelaire's poetry is examined in detail, with a focus on its relationship to his writings on caricature, on the problem of the "secret architecture," and on the place of allegory in a symbolist poetics. In the closing chapter, the author analyzes Baudelaire's denunciation of photography, which reveals the various tensions (or "bad faith") implicit in the modernist consciousness.
Bad Faith is a gripping tale, based on true events as lived by the author. Michael Andrews, once a regional director for a major insurance company, has taken actual events and woven them into a suspenseful, court room thriller which will knock your socks off. In the suprisingly cut throat world of insurance, justice is blind, and honesty is never the policy.
A Spiritual Humanist Alternative for Christianity and the West
Author: Tom Drake-Brockman
Publisher: Wipf and Stock Publishers
Jesus was murdered by the Jewish religious leaders whose power base was the temple of Jerusalem. Saul of Tarsus—later the Paul of Christianity—was one of these, and his brand of faith theology mirrored their theology of covenantal entitlement. Thus, Christianity’s basic theological principles derive from those who killed Jesus. This is just one of many challenging propositions backed with strong evidence that appear in this book. Jesus, like most Jews, was attuned to faithfulness rather than pure faith, to ethical behavior based on human empathy rather than metaphysical beliefs and rituals. The central focus of Jesus was hesed, the heart of the Jewish covenant with God which linked God’s mercy to human compassion and forgiveness, making both mutually interactive. This hesed forgiveness was anathema to the temple’s faux forgiveness and threatened its very existence. Therefore, Jesus came not to save us, but to show us how to save ourselves. Reinterpreting a key parable of Jesus in this light, the Parable of the Tares, Jesus can be most plausibly understood as an incarnation of Adam, the original prototype human who God, in Genesis, appointed to oversee his creation and guide our spiritual evolution. His mission was not about any sacrificial death, but about establishing the spiritual humanism of Judaic hesed as the central purpose of human existence.
Once she was Professor Mary Naughton, investigative reporter, teacher, and free spirit. Now she is Sister Agatha of Our Lady of Hope, a cloistered, financially-struggling monastery in New Mexico. As an extern-a nun who handles her order's dealings with the outside world-she is used to having her faith and newly-acquired patience tested. But when popular chaplain Father Anselm is poisoned to death in the middle of Mass, Sister Agatha has to bring all her worldly skepticism and savvy instincts to uncover the truth before scandal and unjust suspicion destroy Our Lady of Hope's future. She's up against a hostile local sheriff, an ex-lover who's never forgiven her for 'abandoning' their life together. She's got no shortage of suspects-with-secrets outside-and inside-the monastery. And she'll have to race the clock to stop one remorseless murderer before there's more hell to pay...
For readers interested in political theory and political activism, as well as anyone puzzled by the persistence of theistic conviction in the modern world, this critique of religious belief provides insightful analysis. In light of rational standards for belief acceptance that are universally acknowledged in enlightened circles, theistic convictions are deeply problematic. Thus it is not surprising that some of the most important heirs of the Enlightenment tradition—Ludwig Feuerbach, Émile Durkheim, Sigmund Freud, and Friedrich Nietzsche—wondered, implicitly, why belief in God persists and even flourishes among those who should and in some sense do know better. This book provides fresh insight into the work of those thinkers by reflecting on the explanations they proffered and on their explanatory strategies. For all their many differences, their respective explanations share a common core and are driven by a similar (largely unelaborated) normative commitment. On Levine’s account, believers today believe in bad faith—in other words, they evince a fundamental intellectual dishonesty. If only for this reason, they merit reproach, even in the comparatively rare instances when "faith perspectives" do more good than harm. From this standpoint, the author reflects on the liberal turn in the so-called Abrahamic religions (Judaism, Christianity, and Islam) and depicts liberal religion as a vehicle of exit for those who implicitly acknowledge the untenability of the beliefs they profess, yet are unable or unwilling to face this reality squarely. He argues that liberal religion is therefore a transitory phenomenon, albeit one that has survived for a long time and that is not about to expire soon. Levine then faults the religious Left on this account, arguing that even in those historically rare conditions where bad faith motivates welcome political engagement, it is nevertheless undermined by its deep inauthenticity. From the Trade Paperback edition.
While Butch and Marlene work to convict the parents of a deceased boy whose health was neglected in favor of a charismatic faith healer, Karp struggles to prevent a violent attack on New York City with the help of an imprisoned Russian assassin.
We all possess more than one identity. We are lover to our spouse, loving child to our parents, loving parents to our children. But who has the final say so in who or what our ultimate identity should be? The God we worship, or the boundaries of our racial heritage? Find out how faith, love belief and disbelief moulds and reshapes Reverend Martin Soren.
Bad Faith tells the story of one of history's most despicable villains and conmen - Louis Darquier, Nazi collaborator and 'Commissioner for Jewish Affairs', who dissembled his way to power in the Vichy government and was responsible for sending thousands of children to the gas chambers. After the war he left France, never to be brought to justice. Early on in his career Louis married the alcoholic Myrtle Jones from Tasmania, equally practised in the arts of fantasy and deception, and together they had a child, Anne whom they abandoned in England. Her tragic story is woven through the narrative. In Carmen Callil's masterful, elegiac and sometimes darkly comic account, Darquier's rise during the years leading up to the Second World War mirrors the rise of French anti-Semitism. Epic, haunting, the product of extraordinary research, this is a study in powerlessness, hatred and the role of remembrance. Shortlisted for the Samuel Johnson Prize.