This book is about intersections among science, philosophy, and literature. It bridges the gap between the traditional "cultures" of science and the humanities by constituting an area of interaction that some have called a "third culture." By asking questions about three disciplines rather than about just two, as is customary in research, this inquiry breaks new ground and resists easy categorization. It seeks to answer the following questions: What impact has the remapping of reality in scientific terms since the Copernican Revolution through thermodynamics, relativity theory, and quantum mechanics had on the way writers and thinkers conceptualized the place of human culture within the total economy of existence? What influence, on the other hand, have writers and philosophers had on the doing of science and on scientific paradigms of the world? Thirdly, where does humankind fit into the total picture with its uniquely moral nature? In other words, rather than privileging one discipline over another, this study seeks to uncover a common ground for science, ethics, and literary creativity. Throughout this inquiry certain nodal points emerge to bond the argument cogently together and create new meaning. These anchor points are the notion of movement inherent in all forms of existence, the changing concepts of evil in the altered spaces of reality, and the creative impulse critical to the literary work of art as well as to the expanding universe. This ambitious undertaking is unified through its use of phenomena typical of chaos and complexity theory as so many leitmotifs. While they first emerged to explain natural phenomena at the quantum and cosmic levels, chaos and complexity are equally apt for explaining moral and aesthetic events. Hence, the title "Remapping Reality" extends to the reconfigurations of the three main spheres of human interaction: the physical, the ethical, and the aesthetic or creative.
Detective Inspector McCarthy of Scotland Yard C.I.D. investigates the murder of Lord Arthur Warnecke, chairman of the Amalgamated British Shipping Trust.
On March 31, 1943, the musical Oklahoma! premiered and the modern era of the Broadway musical was born. Since that time, the theatres of Broadway have staged hundreds of musicals--some more noteworthy than others, but all in their own way a part of American theatre history. With more than 750 entries, this comprehensive reference work provides information on every musical produced on Broadway since Oklahoma's 1943 debut. Each entry begins with a brief synopsis of the show, followed by a three-part history: first, the pre-Broadway story of the show, including out-of-town try-outs and Broadway previews; next, the Broadway run itself, with dates, theatres, and cast and crew, including replacements, chorus and understudies, songs, gossip, and notes on reviews and awards; and finally, post-Broadway information with a detailed list of later notable productions, along with important reviews and awards.
Australian football match reviews and player profiles in the context of world and Australian historical events and developments during the first quarter of the twentieth century. The book concentrates especially on football in its heartland of Victoria, South Australia, Western Australia and Tasmania.
Patrician looking but not patrician born, Musmanno was a self-made man memorable in his appearance and congenial to the times until his intentions and aspirations ran afoul of the circumstances. From his journals we see a man of extreme contradictions who sometimes exercised troubling and even controlling relationships over people and events"--
In this poetry collection, the author of Ghost Country deeply examines violent masculinity, driven by a yearning for more compassionate ways of being. McCarthy’s flyover country is populated by a family strangled by silence: a father drunk and mute in the passenger seat, a mother sinking into bed like a dish at the bottom of a sink, and a boy whose friends play punch-for-punch for fun. He shows us a boy struggling to understand pain carried down through generations and how quickly abandonment becomes a silent kind of violence; “how we deny each other, daily, so many chances to care,” and how “we didn’t know how to talk about loss, / so we made each other lose.” Constant throughout is the brutality of the Midwestern landscape that, like the people who inhabit it, turns out to be beautiful in its vulnerability: sedge grass littered with plastic bags floating like ghosts, dilapidated houses with abandoned Fisher Price toys in the yard, and silos of dirt and rust under a sky that struggles to remember the ground below. With arresting lyricism and humility, Scared Violent Like Horses attends to the insecurities that hide at the heart of what’s been turned harsh, offering a smoldering but redemptive and tender view of the lost, looked over, and forgotten. Selected by Victoria Chang as winner of the Jake Adam York Prize Praise for Scared Violent Like Horses “McCarthy’s book of Midwestern threnodies begins in image and ends in solemnity . . . McCarthy’s poems are profluent stories?a joy to marvel at this skill, impressive considering the book’s bleak landscape.” —The Millions “McCarthy has whittled out a sense of freedom from the heartache of the past, and the reader is left with a remarkable vision.” —Booklist “In unshowy, plaintive, quietly delivered language that should not be mistaken for affectless?and that can be stabbed through with surprisingly piercing metaphor—McCarthy vivifies a place and hard way of life too little visited.” —Library Journal “Ultimately, what the reader is left with is a stunning overlap of lost boy and lost landscape glimpsed through the lens of a gifted poet’s magical linguistic and storytelling abilities.” —Victoria Chang “A book that grabs the reader with its insistent lyric beauty.” —Allison Joseph
The metaphor of the Church as a "body" has shaped Catholic thinking since the Second Vatican Council. Its influence on theological inquiries into Catholic nature and practice is well-known; less obvious is the way it has shaped a generation of Catholic imaginative writers. Cathedrals of Bone is the first full-length study of a cohort of Catholic authors whose art takes seriously the themes of the Council: from novelists such as Mary Gordon, Ron Hansen, Louise Erdrich, and J. F. Powers, to poets such as Annie Dillard, Mary Karr, Lucia Perillo, and Anne Carson, to the Pulitzer Prize-winning playwright John Patrick Shanley. Motivated by the inspirational yet thoroughly incarnational rhetoric of Vatican II, each of these writers encourages readers to think about the human body as a site-perhaps the most important site-of interaction between God and human beings. Although they represent the body in different ways, these late-twentieth-century Catholic artists share a sense of its inherent value. Moreover, they use ideas and terminology from the rich tradition of Catholic sacramentality, especially as it was articulated in the documents of Vatican II, to describe that value. In this way they challenge the Church to take its own tradition seriously and to reconsider its relationship to a relatively recent apologetics that has emphasized a narrow view of human reason and a rigid sense of orthodoxy.
Durango is an adventure story about the great October cattle drive of Tubberlick. Set in rural Ireland during the Second World War, this novel features the themes of love, sex, money and betrayal. Durango has been produced as a film starring Brenda Fricker, Patrick Bergin and Pat Laffin.
At the formation of the new Republic of Ireland, the construction of new infrastructures was seen as an essential element in the building of the new nation, just as the adoption of international style modernism in architecture was perceived as a way to escape the colonial past. Accordingly, infrastructure became the physical manifestation, the concrete identity of these objectives and architecture formed an integral part of this narrative. Moving between scales and from artefact to context, Infrastructure and the Architectures of Modernity in Ireland 1916-2016 provides critical insights and narratives on what is a complex and hitherto overlooked landscape, one which is often as much international as it is Irish. In doing so, it explores the interaction between the universalising and globalising tendencies of modernisation on one hand and the textures of local architectures on the other. The book shows how the nature of technology and infrastructure is inherently cosmopolitan. Beginning with the building of the heroic Shannon hydro-electric facility at Ardnacrusha by the German firm of Siemens-Schuckert in the first decade of independence, Ireland became a point of varying types of intersection between imported international expertise and local need. Meanwhile, at the other end of the century, by the year 2000, Ireland had become one of the most globalized countries in the world, site of the European headquarters of multinationals such as Google and Microsoft. Climatically and economically expedient to the storing and harvesting of data, Ireland has subsequently become a repository of digital information farmed in large, single-storey sheds absorbed into anonymous suburbs. In 2013, it became the preferred site for Intel to design and develop its new microprocessor chip: the Galileo. The story of the decades in between, of shifts made manifest in architecture and infrastructure from the policies of economic protectionism, to the opening up of the country to direct foreign investment and the embracing of the EU, is one of the influx of technologies and cultural references into a small country on the edges of Europe as Ireland became both a launch-pad and testing ground for a series of aspects of designed modernity.
Tracing the international and Australian history of both licit and illicit drug use, this investigation combines the topic of drug use with analyses of political power, the rise of the market, and social issues. It examines the way in which drug consumption is regulated in the era of global free trade by first looking at the start of the opium-growing industry and the racist origins of drug laws. Providing a social history of drug use through the lens of international politics, market forces, medicine, and race, this discussion also considers the paradox of contemporary, white Australian identity and an Australia as a nation of people whose per capita drug consumption often equals and surpasses that of most other nations.
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