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Conference Handbook ICSA 2010 Annual International Conference: Psychological Manipulation, Cultic Groups, and Harm
Conference Handbook ICSA 2010 Annual International Conference: Psychological Manipulation, Cultic Groups, and Harm With the collaboration of Info-Cult/Info-Secte, Montreal, Canada July 1-3, 2010 Doubletree at George Washington Bridge 2117 Route 4 East, Fort Lee, NJ International Cultic Studies Association PO Box 2265 Bonita Springs, FL 34133 239-514-3081 www.icsahome.com Welcome Welcome to the 2010 International Cultic Studies Association (ICSA) conference, Psychological Manipulation, Cultic Groups, and Harm. Speakers have given much of their time in order to present at this conference. Many attendees have come long distances and have diverse backgrounds. Hence, please help us begin sessions on time and maintain a respectful tone during the sometimes lively and provocative discussions. This is a public conference. If you have matters that are sensitive or that you prefer to keep confidential, you should exercise appropriate care. Private audio- or videotaping is not permitted. We hope to make some videos and/or audios available after the conference. Press who attend the conference may come from mainstream and nonmainstream, even controversial, organizations. If a journalist seeks to interview you, exercise appropriate care. If you desire to refuse an interview request, feel free to do so. Remember, if you give an interview, you will have no control over what part of the interview, if any, will be used. ICSA conferences try to encourage dialogue and are open to diverse points of view. Hence, opinions expressed at the conference or in books and other materials available in the bookstore should be interpreted as opinions of the speakers or writers, not necessarily the views of ICSA or its staff, directors, or advisors. -
Impressionist Adventures
impressionist adventures THE NORMANDY & PARIS REGION GUIDE 2020 IMPRESSIONIST ADVENTURES, INSPIRING MOMENTS! elcome to Normandy and Paris Region! It is in these regions and nowhere else that you can admire marvellous Impressionist paintings W while also enjoying the instantaneous emotions that inspired their artists. It was here that the art movement that revolutionised the history of art came into being and blossomed. Enamoured of nature and the advances in modern life, the Impressionists set up their easels in forests and gardens along the rivers Seine and Oise, on the Norman coasts, and in the heart of Paris’s districts where modernity was at its height. These settings and landscapes, which for the most part remain unspoilt, still bear the stamp of the greatest Impressionist artists, their precursors and their heirs: Daubigny, Boudin, Monet, Renoir, Degas, Morisot, Pissarro, Caillebotte, Sisley, Van Gogh, Luce and many others. Today these regions invite you on a series of Impressionist journeys on which to experience many joyous moments. Admire the changing sky and light as you gaze out to sea and recharge your batteries in the cool of a garden. Relive the artistic excitement of Paris and Montmartre and the authenticity of the period’s bohemian culture. Enjoy a certain Impressionist joie de vivre in company: a “déjeuner sur l’herbe” with family, or a glass of wine with friends on the banks of the Oise or at an open-air café on the Seine. Be moved by the beauty of the paintings that fill the museums and enter the private lives of the artists, exploring their gardens and homes-cum-studios. -
LITERATURE on NEW RELIGIOUS MOVEMENTS in TURKEY and the WEST Süleyman TURAN∗
Uluslararası Sosyal Aratırmalar Dergisi The Journal of International Social Research Cilt: 6 Sayı: 27 Volume: 6 Issue: 27 Yaz 2013 Summer 2013 www.sosyalarastirmalar.com Issn: 1307-9581 YEN DN HAREKETLERLE LGL TÜRKYE’DEK VE BATI’DAK LTERATÜR LITERATURE ON NEW RELIGIOUS MOVEMENTS IN TURKEY AND THE WEST Süleyman TURAN∗ Öz Yeni dini hareket (YDH)’ler, XX. yüzyılın ikinci yarısında ortaya çıkan dini akımları ifade etmektedir. Genellikle küçük gruplar halinde kalma eiliminde oldukları için bu hareketler yakın döneme kadar ya çok az ilgi görmü ya da hiç ilgi çekmemilerdi. Ancak özellikle görsel ve yazılı medyada çıkan haberler sayesinde insanlar YDH’lerden daha fazla haberdar olmaya balamı ve neticede seküler ve sözde rasyonel toplumlarımızda alternatif dünya görüleri ve yaam biçimleri benimseyen ve sunan az sayıda insanın, görünüte acayip inanç ve uygulamaları insanların ilgi ve merakını cezp etmitir. YDH’leri anlamak ve açıklamak üzere Batı’da çok sayıda bilimsel çalıma kaleme alınmıtır. Ülkemizde ise özellikle son on yılda YDH’ler konusunda birçok aratırmanın ortaya konulduunu görmekteyiz. Bu bibliyografya çalımasının amacı, hem Batı’da hem de ülkemizde ortaya konulan çalımaları tespit ederek, YDH’lere ilgi duyan okuyucu ve aratırmacılara literatür verisi salamak ve yeni aratırmalara kapı aralamaktır. Anahtar Kelimeler: Yeni Dini Hareketler, Dünya Dinleri, Küreselleme, Türkiye. Abstract The term of “new religious movement/s” (NRMs) generally refer to religious trends appeared in second half of 20th century. They generally tend to be so small or last for so short a time that they attracted litle or no attention. Hovewer, yet almost every one has read articles or watch television shows about these groups. -
Saint Bart's Art Conversations
WEEK ONE SAINT BART’S ART CONVERSATIONS Vincent van Gogh, Almond Blossom (1890) Oil on canvas, 73.3 cm x 92.4 cm REMINDERS One | Optional Zoom class session. If interested email: [email protected] ___ Two | Snag the weekly content each Monday at: http://www.stbartschurch.org/ art/ ___ Three | Email your answers to the prompt by the weekend to: rachel@art- saoirse.co ___ Four | Helpful Resources to brush up on some art lingo: A. https://www.theartstory.org/ B. https://artclasscurator.com/principles-of-design-examples/ C. https://artclasscurator.com/elements-of-art-examples/ THEME ONE: ART CONNECTS Van Gogh, La Berceuse (1889) Oil on canvas, 36 1/2 x 29 in “I don’t know if you’ll understand that one can speak poetry just by arranging colors well, just as one can say comforting things in music.” —Vincent van Gogh Van Gogh, Starry Night Over the Rhône (1888) Oil on canvas, 2′ 5″ x 3′ 0″ Van Gogh, Landscape with Houses (1890) Pencil, brush and oil paint and watercolor on paper 44.0 cm x 54.4 cm CLICK BELOW to WATCH a video about van Gogh’s artistic process: https://www.youtube.com/watch?v=9mii5bWJvDw Van Gogh, Wheatfield with Crows (1890) Oil on canvas, 36 1/2 x 29 in NOW WATCH THIS fictional depiction of a present day van Gogh from the show Dr. Who: https://www.youtube.com/watch?v=ubTJI_UphPk LIGHTER READINGS A | Van Gogh was a Post- Impressionist. Learn more about the movement here: CLICK: https://www.metmuseum.org/ toah/hd/poim/hd_poim.htm B | Learn more about van Gogh’s life here: CLICK: https://www.metmuseum.org/ toah/hd/gogh/hd_gogh.htm Van Gogh, Sunflowers (1889) Oil on canvas, 95 cm x 73 cm HEAVIER READINGS A | “Vincent van Gogh” by Joshua C. -
Robert J. Wickenden (1861-1931) and the Late Nineteenth-Century Print Revival
Robert J. Wickenden (1861-1931) and the Late Nineteenth-Century Print Revival Susan J. Gustavison A Thesis in The Department of Art History Presented in Partial Fulfillment of the Requirements for the Degree of Master Arts at Concordia University Montréal, Québec, Canada July 1989 © Susan J. Gustavison, 1989 CONCORDIA UNIVERSITY Division of Graduate Studies This is to certify that the thesis prepared By: Susan J. Gustavison Entitled: Robert J. Wickenden (1861-1931) and the Late Nineteenth-Century Print Revival and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Art History) complies with the regulations of this University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee, October 11, 1989 Robert J. Wickenden (1861 - 1931) and the Late Nineteenth-Century Print Revival Page ii A thesis by Susan J. Gustavison, July, 1989, Concordia University, Montréal – transcribed by Ken Watson, 1998 ABSTRACT Robert J. Wickenden (1861-1931) and the Late Nineteenth-Century Print Revival Susan J. Gustavison Despite an extensive exhibition history, favourable critical reception, the respect of his peers in the art establishment, and fruitful relationships with collectors such as Charles Lang Freer, James E. Scripps and Sir William Van Horne, Robert J. Wickenden (1861-1931) has remained a minor artist unclaimed by any of the national histories (British, Canadian or American) to which he has been linked in biographical entries. Robert Wickenden was a paradigm of a minor late nineteenth-century artist. His activity as a printmaker and painter of portraits and landscape was supplemented, and at times supported by his role as a collector, dealer and historian in the late nineteenth-century print revival. -
Culture, History and Travel
IN THE FOOTSTEPS OF THE IMPRESSIONISTS: THE SUBURBS OF PARIS Course Outline Our course will visit the suburbs east and west of Paris, and the Normandy coast, during the period 1850 to 1890. The first part of each class will review some fifteen of the paintings of the period, putting them in their historical, social, and literary contexts. The works include painters given diverse classifications, including the Barbizon School, realists, Impressionists, and post-Impressionists, united in that they all contributed to the dramatic changes in painting after 1850. During the four classes we view works by sixteen painters, including Millet, Courbet, Monet, Sisley, Renoir, and Van Gogh. Our readings include works by Baudelaire, Zola, and Maupassant. In the latter part of each class, we will walk the streets of the suburbs and the coastal beaches today, viewing them through digital pictures taken by the instructor over the last decade. We visit the very sites featured in the paintings and the literature of the period, many of which are remarkably similar to their state when the painters knew them: we really can walk in the footsteps of the Impressionists. Be forewarned: the instructor is an economic historian and economist by training, a Francophile by marriage and experience, and a strictly amateur admirer of the art of the period. 1. Barbizon, Marlotte, and Moret-sur-Loing • An Invitation to the Voyage • Barbizon and Farmers • The Forest of Fountainebleau • Renoir, Murger, and Marlotte 2. Bougival and Chatou • Maupassant, “Paul’s Mistress” (1881) • Le Restaurant Fournaise • George Bizet’s Carmen • Walking from Chatou to Bougival to Louveciennes to Port Marly 3. -
Impressionist Adventures
impressionist adventures THE NORMANDY & PARIS ILE-DE-FRANCE GUIDE 2018 Gustave Caillebotte, Parterre de marguerites, vers 1893 - Giverny, musée des impressionnismes, acquis grâce à la générosité de la Caisse des Dépôts, de la Caisse d’Epargne Normandie, de SNCF Réseau, de la Société des amis du musée des impressionnismes Giverny et d’une souscription publique, 2016, MDIG 2016.2.1 à 4 © Giverny, musée des impressionnismes IMPRESSIONIST ADVENTURES, INSPIRING MOMENTS! elcome to Normandy, Paris and Île-de-France! It is in these regions and nowhere else that you will be able to admire marvellous W Impressionist paintings while also enjoying the instantaneous emotions that inspired their artists. It was here that the art movement that revolutionised the history of art came into being and blossomed. Enamoured of nature and the advances of modern life, the Impressionists set up their easels in forests and gardens along the rivers Seine and Oise, on the Norman coasts, and in the heart of Paris’s districts where modernity was at its height. These settings and landscapes, which for the most part are still unspoiled, still bear the stamp of the greatest Impressionist artists and their heirs: Daubigny, Boudin, Monet, Renoir, Degas, Morisot, Pissarro, Caillebotte, Sisley, Van Gogh, Luce and many others. Today, these regions invite you to enjoy moments of pleasure with a series of Impressionist journeys. Admire the changing sky and light as you gaze out to sea, recharge your batteries in the cool of a garden. Relive the artistic ebullience of Paris and Montmartre and the authenticity of a bohemian culture. Enjoy joie de vivre in company: a “déjeuner sur l’herbe” with family, or a glass of wine with friends on the banks of the Oise or in an open-air café on the Seine. -
DEATH and the AFTERLIFE: POST-IMPRESSIONISM (Vincent Van Gogh and Paul Gauguin) VINCENT VAN GOGH and PAUL GAUGUIN
DEATH and the AFTERLIFE: POST-IMPRESSIONISM (Vincent Van Gogh and Paul Gauguin) VINCENT VAN GOGH and PAUL GAUGUIN Online Links: MetMuseum - Vincent Van Gogh Power of Art - Van Gogh – YouTube Van Gogh's Sunflowers - Private Life of a Masterpiece Great Artists - Vincent van Gogh - YouTube Van Gogh's Starry Night - Smarthistory (No Video) Van Gogh's Bedroom – Smarthistory Van Gogh's True Palette Revealed - New York Times Gauguin's Jacob Wrestling with the Angel – Smarthistory Gauguin's Spirit of the Dead Watching - Smarthistory (No Video) VINCENT VAN GOGH and PAUL GAUGUIN Online Links: Vincent van Gogh- Wikipedia Paul Gauguin - Wikipedia Gauguin's Nevermore – Smarthistory Gauguin's Last Testament - Vanity Fair Gauguin's Bid for Glory - Smithsonian.com Gauguin's erotic Tahiti idyll exposed as a Sham - The Guardian Works by Paul Gauguin – MOMA The Art of Paul Gauguin – YouTube The Cypress Trees in the Starry Night, a college paper by Jessica Caldarone Vincent van Gogh. Self-Portrait with a Straw Hat, 1887, oil on canvas Vincent van Gogh (1853-1890) the eldest son of a Dutch Reformed minister and a bookseller's daughter, pursued various vocations, including that of an art dealer and clergyman, before deciding to become an artist at the age of twenty-seven. Over the course of his decade- long career (1880–90), he produced nearly 900 paintings and more than 1,100 works on paper. Ironically, in 1890, he modestly assessed his artistic legacy as of "very secondary" importance. Vincent van Gogh. The Sower (after Millet), 1881, pen and wash heightened with green and white Largely self-taught, Van Gogh gained his footing as an artist by zealously copying prints and studying nineteenth-century drawing manuals and lesson books, such as Charles Bargue's Exercises au fusain and cours de dessin. -
Evangelical Interfaith
EVANGELICAL INTERFAITH Fuller Theological Seminary FALL MORMONS AND EVANGELICALS: New Paths from a Troubled Past 2012 At a Glance In this issue of the Evangelical Interfaith Dialogue, we depart from our regular format in Looking Forward in Light of the Past order to best capture the nature of a unique form of interfaith dialogue between a group of Latter-day Saint and Evangelical scholars and pastors that has been going on for 04 more than a decade. Instead of featuring one lead article with responses from several Robert L. Millet other authors, in this issue we have paired an Evangelical with a Latter-day Saint and The Mormon-Evangelical Dialogue: Reflections after 12 Years asked them to respond to a specific aspect of this dialogue. In the first set of essays, Robert Millet reflects on key aspects in the development of the LDS-Evangelical dialogue and expresses his hopes for what is to come. Similarly, Craig Blomberg reflects on what he hopes will come in the future of this dialogue 08 group and for the LDS community twenty years from now. Craig L. Blomberg In second set of essays, Spencer Fluhman and Dennis Okholm write about what drew The Years Ahead: My Dreams for Mormon-Evangelical Dialogue them into this dialogue group and what has sustained their involvement of the last few years. Camille Fronk Olson and James Bradley each offer their reflections on these two sets The Appeal of this Form of Dialogue of essays in light of their own participation in this dialogue group. 12 In a helpful historical piece, Derek Bowen paints a picture of some of the theological, social, and cultural factors that led to this particular gathering of Latter-day Saints and J. -
Building a House of Memory
6 PANORAMA Building a house of memory Dominique Janssens has spent 20 years sharing his love of Van Gogh with the world, Michael Reid writes ominique Janssens wasn’t always a Van Gogh aficionado. Until 1985, he knew only the outline with which many people are familiar: severed ear, turbulent life, death by suicide in his 30s. A Dcar accident, however, changed that. Laid up in hospital after his Volvo was rammed at traffic lights at 120kmh by a drunk, Janssens learned from police reports the accident had occurred outside the Auberge Ravoux, the inn at Auvers- sur-Oise, 30km north of Paris, where Van Gogh had boarded for the last two months of his life and to where he staggered to lie in his deathbed for two days after shooting himself in a nearby field. The painter died aged 37 on July 29, 1890, in his attic room at the Auberge Ravoux where he had been boarding, from the effects of a self- inflicted gunshot wound to the chest. It is not unlikely that his painting, The Fields, was hanging on the wall as he lay dying. During his recuperation, Janssens absorbed himself in the life of Van Gogh. He read Van Gogh’s letters to his brother Theo, and then read them all again. At 37, the same age as Van Gogh when he died, Janssens’ life took an about-turn. The Belgian former dairy company marketing manager has become the guardian of the Van Gogh legacy in Auvers and beyond, and for more than 20 years, has dedicated his life to helping the artist achieve his modest aim of ‘‘having an exhibition of my own in a cafe’’. -
Sectaire Et « Inter-Dit »
Université de Montréal Sectaire et « inter-dit ». Introduction de la dimension du croire dans l’écoute du dire des personnes ayant vécu une expérience sectaire par Marie-Ève Garand Faculté de Théologie et de Sciences des Religions Thèse présentée à la Faculté de Théologie et de sciences des religions en vue de l’obtention du grade de doctorat en Sciences des religions Mai 2013 ©Marie-Eve Garand, 2013 i ii Université de Montréal Faculté des études supérieures et postdoctorales Cette thèse intitulée : Sectaire et « inter-dit ». Introduction de la dimension du croire dans l’écoute du dire des personnes ayant vécu une expérience sectaire présentée par : Marie-Eve Garand a été évaluée par un jury composé des personnes suivantes : Jean-Marc Charron, président-rapporteur Guy-Robert St-Arnaud, directeur Jean-Paul Gilson, membre du jury Raymond Lemieux, examinateur externe Jean-Marc Charron, représentant du doyen de la Faculté des études supérieures iii iv RÉSUMÉ La thèse questionne les conditions d’écoute des témoignages des personnes ayant vécu une expérience sectaire, ainsi que les enjeux éthiques et méthodologiques qui découlent de la manière dont la littérature propose de comprendre le dire de ces personnes. Une revue de littérature permet de montrer que les principaux cadres théoriques utilisés pour expliquer le sectaire (aliénation, manipulation mentale, addiction) déterminent la manière dont est entendu le dire des personnes. De cette façon, le sens du sectaire n’oriente pas seulement la compréhension que nous avons des personnes. Il trace aussi les conditions de l’écoute. Le postulat de base de la thèse est que l’introduction de la « dit-mention » du croire comme carrefour interprétatif permet de développer une écoute qui concerne à la fois le sujet parlant et la dimension de l’être. -
Reviewing the Discourse of 'Spiritual Abuse'
Reviewing the Discourse of ‘Spiritual Abuse’ Logical Problems & Unintended Consequences A report by the Evangelical Alliance Theology Advisory Group Foreword The Bible confirms that human beings have been abusing one another throughout history. From the days of Noah, when the ‘wickedness of humanity was great’ and ‘every inclination of people’s hearts was evil’ (Gen. 6:5), to Jesus’ condemnation of toxic religious leadership (Matt. 23:4, 23), the sinfulness of fallen people has caused them to assault, exploit, humiliate and bully others, in violation of God’s law and the gospel of Christ. The Bible also indicates that the church should be vigilant about such abusive behaviour, and should instead model holistic community life based on mutual respect and care, after the example of Jesus himself (Phil. 2:1-11). This report makes it clear that the Evangelical Alliance UK is deeply committed to fostering healthy churches in which people can thrive, free from abuse. In our own time, sexual abuse of children and sexual harassment of women in particular have been spotlighted in high-profile scandals within and beyond the church. In what follows, we acknowledge these as major issues, and cite key sources related to them. The focus of the report, however, is on another area of abuse variously described as Emotional or Psychological Abuse, and on the occurrence of such abuse in contexts identified as religious. Some have sought to define this area of abuse as ‘Spiritual Abuse’. The report, however, shows that ‘Spiritual Abuse’ is a seriously problematic term partly because of its own inherent ambiguity, and also because attempts by some to embed it within statutory safeguarding discourse and secular law would be unworkable in practice, potentially discriminatory towards religious communities, and damaging to inter-faith relations.