Mary has a secret. A piece of her past is so painful and shameful that she has told only her parents. Now as a vibrant young woman from a Mennonite family, Mary’s secret stands in the way of her finding happiness. John, a missionary passionate for the Lord’s work, wants to make Mary his wife. How can Mary commit to him when he doesn’t know her true self? “Francis? Is that you?” With those four words over the phone, the life Francis—a single-mother of two—knew comes to a screeching halt. On the other end of the line is Mike, a man that Francis hasn’t seen or heard from in ten years. He is the father of her children, and he left her in the worst possible way. Now he wants to be in their life again. How can Francis ever move past what he did to them? As Mary, Francis, and their loved ones wrestle with unconscionable acts, their futures depend on the answer to one question: Can they find the grace to forgive? Although a sequel to Grace for Tomorrow, this book stands on its own as a story about the human condition and how Divine inspiration can change everything.

The author defends nonconceptualism, the claim that perceptual experience is nonconceptual and has nonconceptual content. Continuing the heated and complex debate surrounding this topic over the past two decades, she offers a sustained defense of a novel version of the view, Modest Nonconceptualism, and provides a systematic overview of some of the central controversies in the debate. An explication of the notion of nonconceptual content and a distinction between nonconceptualist views of different strengths starts off the volume, then the author goes on to defend participants in the debate over nonconceptual content against the allegation that their failure to distinguish between a state view and a content view of (non)conceptualism leads to fatal problems for their views. Next, she makes a case for nonconceptualism by refining some of the central arguments for the view, such as the arguments from fineness of grain, from contradictory contents, from animal and infant perception, and from concept acquisition. Then, two central objections against nonconceptualism are rebutted in a novel way: the epistemological objection and the objection from objectivity. Modest Nonconceptualism allows for perceptual experiences to involve some conceptual elements. It emphasizes the relevance of concept employment for an understanding of conceptual and nonconceptual mental states and identifies the nonconceptual content of experience with scenario content. It insists on the possibility of genuine content-bearing perceptual experience without concept possession and is thus in line with the Autonomy Thesis. Finally, it includes an account of perceptual justification that relies on the external contents of experience and belief, yet is compatible with epistemological internalism.

Features 30 new paintings by Polke, published here for the first time, and provides an insight into his innovative technique.

Growing up as a middle child in a happy Mennonite home, Mary enjoys good friends, excels in school, and has a growing interest in her brothers best friend. Then tragedy strikes! Marys faith in God is shattered as she questions everything she always believed to be trueGod, family, and friends. Wading through a mountain of hurts and disappointments, she struggles to find purpose in her life. Anxious and alone, Mary is forced to decide between good and evil, between life and death. Francis is a young mother of two who works the early shift as a waitress at the local diner. Weighed down by financial struggles, her husband, Mike, turns to alcohol, abuse, and infidelity. After an exceptionally violent attack, Francis wakes up to find Mike is gone. How will she raise her children by herself? God can help if they will let him . . . but will they?

Eva Schmidt analyses how power relations, ideas, and institutions in Tunisian gender politics changed during the democratisation process 2011–2014. Her analysis of gender politics offers a productive lens to understand the course of the Tunisian transition. As gender policies are integral to Tunisian national identity, they became a major battlefield in the fight for political inclusion and exclusion. In this context, liberal and leftist feminists accessed the decision-making institutions and enhanced the existing women’s rights legislation. Yet the intertwinement of modernist nationalism with women’s rights also limited the scope for feminist demands. This book contributes a unique case study to political transitology and advances an original theoretical approach based on Bourdieu’s theory of the political field.

Throughout the history of art, the studio has been the traditional place in which