By Sara Maitland
Maitland, British novelist (Three occasions desk, Daughter of Jerusalem, Ancestral Truths, etc.) and Christian feminist (A Map of the hot Country), has right here produced a fantastically written publication that's half paean to God and half explication of religion. regardless of its subtitle, it's also a pondering person's seek, not only a feminist's. offering within the glaring acts of divine construction buttresses for the novel act of human religion, Maitland's is a God who struggles to make Herself recognized to and enjoyed through construction. "Joy is the sport, the taking part in, among God and God's creation," Maitland writes; and the results of her chronicling of that video game is, because the subtitle extra adequately studies, a pleased theology that, just like the God it celebrates, seems on construction and unearths it first-class. prompt for all who search to counterpoint their religious trips or just to extend their theological sensibilities.
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Extra resources for A Big-Enough God: A Feminist's Search For A Joyful Theology
Men were usually peripheral to the often melodramatic narratives t h a t celebrated the resilience of traditional femininity. "Working girl" films such as His Girl Friday (1940) were classically lighter in tone, whether as dramas or comedies, and featured spunky professional heroines focused on the dilemma of career versus love. By the 1940s, these films would take a more feminist turn. The third major type, "films of suspicion and distrust" such as Gaslight (1944) featured noir cinematography and plots often centering on a murderous husband and a suspicious wife.
Other women's films make some reference to womankind in the title: Adam's Rib (1949); His Girl Friday (1940); Letter From An Unknown Woman (1948); A Woman's Face (1941); Woman of the Year (1942)1 Secondly, the themes of women's films differ radically from those of male-oriented cinema such as Westerns, crime dramas, and war movies. Male-oriented films often dramatize a fear of intimacy (especially with women) and an obsession for individuation ("a man's got to do what a man's got to do") and masculine bonding.
Working girl" films such as His Girl Friday (1940) were classically lighter in tone, whether as dramas or comedies, and featured spunky professional heroines focused on the dilemma of career versus love. By the 1940s, these films would take a more feminist turn. The third major type, "films of suspicion and distrust" such as Gaslight (1944) featured noir cinematography and plots often centering on a murderous husband and a suspicious wife. These deliciously paranoid dramas flourished in the mid- to late 1940s.