Sexuality

Amor, sexo y noviazgo: Sé libre para amar (Enfoque a la by Sixto Porras

By Sixto Porras

¿Qué quiere decir ser soltero Y sexual en los ojos de Dios?

Esto no es un mero sermón sobre los men del sexo prematrimonial. Con testimonios de gente genuine, este libro pretende ser tu compañero en los retos que representa vivir tu sexualidad en concordancia con el diseño de Dios, expresado en principios bíblicos. Provee amplias explicaciones claras y bien fundamentadas científicamente (en los procesos biofísicos y psicológicos) para que conozcas y comprendas adecuadamente las implicaciones a nivel corporal, emocional y espiritual de l. a. sexualidad en todos sus aspectos. Lucha con qué quiere decir ser soltero y sexual en un entorno cultural que ofrece miles de respuestas que desilusionan. El libro pinta un bello cuadro de jóvenes varones y mujeres, fuertes, realizados en su sexualidad de una forma que refleja el glorioso diseño de Dios en un mundo roto.

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Extra resources for Amor, sexo y noviazgo: Sé libre para amar (Enfoque a la Familia)

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Charles I had used the masque as a tool to support his vision of kingship; Charles II used both formal theater and popular spectacles to create a myth with which to appeal to a broad public consensus. ”35 While theatrical events of all types were marshaled by the new government to spread a favorable vision of the new regime, not all Restoration playwrights simply toed the Stuart line. J. Douglas Canfield has productively analyzed the range of ideological investments of Restoration drama in his seminal monographs Tricksters and Estates and Heroes and States.

That libertine dramas, such as The Rehearsal, The Country Wife, and The Man of Mode, cited the social and behavioral practices of “real life” people has been a common place of Restoration drama since the late seventeenth century. ”40 These perceived similarities between fictional characters and court libertines suggest that Buckingham, Rochester, Sedley, Etherege, and Wycherley drew upon their own rumored exploits to create their dramatic protagonists. 41 Writing plays based on these activities and then publishing them was the next logical step in appealing to a wider audience outside the court.

As Michael Kreyling suggests, “A cultural group accepts its narrative form, and rejects others, because that form alone embodies the group’s nearest image of itself as its most truthful and accessible scripture. ”31 Theatrical discourse was the most prominent genre through which Charles II’s government, one “cultural group,” inculcated its subjects with its ideology. It was also the genre through which libertines, by the 1670s another such group, most effectively responded to that ideology. ” This propaganda did not exactly match reality.

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