Explore the vast range of titles available.

The United States is one of the most highly educated societies on earth, and also one of the most religious. In The God Problem, Robert Wuthnow examines how middle class Americans juggle the seemingly paradoxical relationship between faith and reason. Based on exceptionally rich and candid interviews with approximately two hundred people from various faiths, this book dispels the most common explanations: that Americans are adept at keeping religion and intellect separate, or that they are a nation of \"joiners.\" Instead, Wuthnow argues, we do this—not by coming up with rational proofs for the existence of God—but by adopting subtle usages of language that keep us from making unreasonable claims about God. In an illuminating narrative that reveals the complex negotiations many undertake in order to be religious in the modern world, Wuthnow probes the ways of talking that occur in prayers, in discussions about God, in views of heaven, in understandings of natural catastrophes and personal tragedies, and in attempts to reconcile faith with science.

Traditionally, historians begin the League of Nations’ history with the postwar settlement and the creation of the Versailles system. However, the continuity exists between the First World War and the emergence of international organization. There was no steady institution of multilateral diplomacy for the international arbitration before the War. The Hague Peace Conferences (1899, 1907) were not able to create strong international institutions. The ways out of the Great War and the mechanisms of preventing its repetition had to be looked for in the bloody conflict. The situation in the USA and in the UK differed significantly. The censorship rules that did not allow publishing essays about peace or any negotiations with the enemy were introduced. In the US they could freely discuss these issues. In the US the university academicians, businessmen, and representatives of various faiths, and prominent politicians were involved in the discussions. In the UK, the League of Nations theme was discussed by the pressure groups such as Fabian Society and selected intellectuals such as Leonard Woolf. During 1916–1917 the views of the governments and various social organizations about the League of Nations significantly differed. The public opinion and social groups demanded the creation of the international organization immediately, or as part of the post-war settlement structure. The UK government recognized the need for the creation of the League of Nations only as a part of the United States involving into the war and the strengthening of the British Empire. As a result of the League of Nations carried out signs of hybridity in a dangerous form.

Language is a function of culture. Within the African culture traditional and faith healers play an essential role in counseling the community on various personal and communal health- and life-related conditions. This kind of practice is particularly observed among the native populations, among those less affected by Western influences, and among those who have less opposition from Western and Asian religions. It is in this context that diagnosis and treatment of the bilingual child with potential language disorders were examined from the point of view of the African culture. The present study examines the degree to which the traditional or/and faith healers diagnose and explain the nature of the child’s problem to the parent(s). The impact of the African traditional healer is compared to the diagnosis made by the modern medical practitioner who adheres to the Cartesian dualism model which seeks to treat the patient by applying medical and surgical procedures. Speech-language pathologists need to recognize and consider the healer’s impact on any child with a potential language disorder.

The pretext for ''[Grimm]'' was a thought Mr. Cook had while playing with his son, Max, an enchanting toddler who appears in the preamble to the piece. (''Where's Max?'' someone yelled from the audience during the Max-less curtain calls.) ''Why are we always afraid of everything?'' Mr. Cook wondered, according to program notes for ''Grimm.'' The 90 minutes of murky forests and odd creatures bounding on all fours and swinging from the ceiling do create an atmosphere of fear at times. But there are no surrogates onstage through whom that fear can be channeled to the audience.

Later, [Faith Hill] sang a thrillingly campy version of ABBA's \"The Winner Takes It All,\" while [Tim McGraw] offered his take on the Steve Miller Band's \"The Joker.\" Even in their own material, though, the stars seemed unsatisfied with the glittery twang-and-bang of modern country. McGraw credibly channeled Bill Withers in \"Suspicions,\" a lush soul tune from this year's \"Let It Go.\" The singers ended Friday's show with \"I Need You,\" a lovely duet from \"Let It Go\" that likens the couple's relationship to that between a needle and a vein.

Boasting a reckless streak \"almost a country-mile wide,\" [Tim McGraw] stalked the stage during his headlining set like a fired-up WWE wrestler. New tunes such as \"Between the River and Me\" and the soul-flecked \"Suspicions\" fit easily next to older fare like \"Indian Outlaw,\" its deep groove sharpened by countless shows at sweaty honky tonks. The workmanlike McGraw was solid throughout (excepting a cringe-worthy \"The Joker\"), snarling his way through \"Real Good Man\" and pulling back for a moonlit waltz on \"When the Stars Go Blue.\"

It carried them through the opening number, a shrill cover of Snow Patrol's \"Chasing Cars.\" [Faith Hill]'s set followed, and whatever criticism can be leveled at a so-called country artist whose repertoire is stuffed with catchy pop-rockers, the woman is a fine singer and a relaxed, engaged performer. She sang the big radio hits - \"This Kiss,\" \"The Way You Love Me,\" \"Breathe\" - with a remarkable balance of glitz and warmth. She held her head high during the filler (\"Sunshine and Summertime\" is featherweight even by Hill's lenient standards) and kept the melodrama built into \"Cry\" and \"Lost\" at arm's length.

If Tim McGraw and Faith Hill's three-night run at Staples Center opened on an ominous day for their brand of music, the singers didn't let on during their 2 1/2 -hour show. McGraw didn't even drop a shout-out to the station into his pro-forma thank you to country radio. This is the first time that the two singers -- who conduct separate careers that periodically congeal in a mushy ballad -- have toured together since 2000, and although country has elevated its Kennys, Keiths and Tobys to star status in that period, these veterans are hanging in there, with their albums still selling in the millions and the award shows still bestowing some (albeit decreasing) recognition. McGraw and Hill tended to wander far from each other in some of their shared segments, and although they mercifully avoided any forced banter, they could find a way to inject some sparks of humor and affection into the proceedings -- ideally, something that would shed some light on the chemistry between these musically mismatched artists.

Did the couple flip a coin to see who sings first, or does [Tim McGraw] follow the ladies-first theory? It didn't matter to the crowd, equally split between men who appreciate [Hill]'s beauty and women who appreciate McGraw's. She wrapped her solo set with her take on Janis Joplin's \"Another Little Piece of My Heart\" before McGraw returned to the stage. After they teamed up for \"Angry All the Time\" and \"Let's Make Love\" it was his turn in the solo spotlight. (Both of them sang 12 solo songs, even though McGraw's rsum features a longer list of hits thanks to 16 years of records.) By far his biggest cheers of the night came for one of his best songs, \"Live Like You Were Dying.\" The crowd roared for at least two solid minutes afterward with McGraw egging fans on with arm waving to sustain the (well-deserved) applause.

[FAITH HILL] generously made sure to point out that the dream- encouraging title ballad and \"Stealing Kisses\" were the product of superb Stoughton singer-songwriter Lori McKenna. Hill brought the house down with the bluesy \"There Will Come a Day\" and a stirring, harmony-rich version of the hymn \"It is Well With My Soul\" featuring her backup vocalists. In a credit to the set designer, the transition from Hill to [TIM MCGRAW] was seamless, marred only by the choice of song. \"Angry All the Time\" is not only, as the title implies, a bummer but also lacking in dynamics, the worst of their recorded duets. The slightly more interesting and much, much sexier \"Let's Make Love\" righted the ship before McGraw and his longtime band the Dancehall Doctors kept things moving full steam ahead.