The Journal of Egoism 1845 - 1945. Rare and never-before-published essays and photographs on the first century of the philosophy of the self, the egoism of Max Stirner. For more information see UnionOfEgoists com.
Seit den 1980ern sind He-Man und die Masters of the Universe Giganten der Popkultur. Dank Kevin Smith und seinem Team feiern sie in der neuen Animationsserie Masters of the Universe: Revelation nun ihr großes Comeback auf Netflix. In diesem offiziellen Comic-Prequel verfolgt He-Man ein Monster durch Zeit und Raum, und nicht nur Skeletors Geheimnisse werden offenbart. Die offizielle Comic zur neuen Netflix-Serie. He-Man und die Msters of the Universe begeistern seit 40 Jahren Millionen Fans.
What role do novels, drama, and tragedy play within Christian thought and living? The twentieth century Catholic theologian Hans Urs von Balthasar addressed these questions using tragic drama. For him, Christ was the true tragic hero of the world who exceeded all tragic literature and experience. Balthasar demonstrated how ancient, pre-Christian tragedy and Renaissance works contained important Christian concepts, but he critiqued modern novels as failing to be either truly tragic or Christian. By examining the tragic novels of Thomas Hardy on their own terms, we have an important counterpoint to Balthasar's argument that the novel is too prosaic for theological reflection. Hardy's novels are an apt pairing for examination and critique, as they are both classically and biblically influenced, as well as contemporary.The larger implication for Balthasar's theology is that his innovations in theological aesthetics and tragedy must be expanded in the light of modernity and the tragic novel.
The nineteenth century witnessed the birth of German nationalism and the unification of Germany as a powerful nation-state. In this era the reading public?s obsession with the most destructive and divisive war in its history?the Thirty Years? War?resurrected old animosities and sparked a violent, century-long debate over the origins and aftermath of the war. The core of this bitter argument was a clash between Protestant and Catholic historians over the cultural criteria determining authentic German identity and the territorial and political form of the future German nation. ø This groundbreaking study of modern Germany?s morbid fascination with the war explores the ideological uses of history writing, commemoration, and collective remembrance to show how the passionate argument over the ?meaning? of the Thirty Years? War shaped Germans' conception of their nation. The first book in the extensive literature on German history writing to examine how modern German historians reinterpreted a specific event to define national identity and legitimate political and ideological agendas, The Thirty Years? War and German Memory in the Nineteenth Century is a bold intellectual history of the confluence of history writing, religion, culture, and politics in nineteenth-century Germany.
Are cyborgs our friends or our enemies? Was it morally right for Skynet to nuke us? Is John Connor free to choose to defend humanity, or not? Is Judgment Day inevitable? The Terminator series is one of the most popular sci-fi franchises ever created, captivating millions with its edgy depiction of the struggle of humankind for survival against its own creations. This book draws on some of history’s philosophical heavy hitters: Descartes, Kant, Karl Marx, and many more. Nineteen leather-clad chapters target with extreme prejudice the mysteries surrounding intriguing philosophical issues raised by the series, including the morality of terminating other people for the sake of peace, whether we can really use time travel to protect our future resistance leaders in the past, and if Arnold’s famous T-101 is a real person or not. You’ll say “Hasta la vista, baby” to philosophical confusion as you develop a new appreciation for the complexities of John and Sarah Connor and the battles between Skynet and the human race.
This third volume of the new serial publication »Schlüteriana« continues the commemoration of the 300th anniversary of Schlüter’s death and is dedicated solely to the funerary monuments created by the sculptor, his school, and followers in Berlin and the Brandenburg region of north-eastern Germany. The single text presented here is subtitled »Part Two: Germany« and serves as the second installment of a comprehensive, in-depth survey focused on this highly important genre in the sculptor’s oeuvre. It completes the examination initiated by »Part One: Poland« published in Schlüteriana II which dealt with Schlüter’s tomb art created during his earlier sojourn in Polish territories. The primary aim of this current publishing project is to bring about a more complete, overall understanding of the artist’s production from both his Polish and German years. In these two articles, we have concentrated on his funerary sculpture by providing – in an essay/catalogue format greatly enhanced by an exhaustive photographic documentation of each object discussed – a fundamental description of monuments closely associated with the artist and his circle including comparative analysis based upon key examples from European Baroque art. Certain sepulchral monuments created by the sculptor and his assistants in Berlin may already be somewhat better known to the lay public and art historians, however, those works from his Polish years have thus far still been somewhat neglected and inadequately received into the realm of Schlüter’s total output. This two-part study, which attempts to present all the works together along with supplemental commentary on pertinent historical, social, and iconographic contexts of the times when this art was created, will hopefully begin to enrich our understanding of the inter-relationships they share and contribute to a fuller reconstruction of Andreas Schlüter’s artistic development throughout his entire career. »Schlüteriana III« is being published in remembrance not only of Schlüter’s death in 1714, but also as a tribute to a Berlin scholar who spent many years of her career deeply involved with research into the master’s greatest work of architecture – the Berlin Stadtschloss. Her kindness and generosity in the free-exchange of information led to many stimulating discussions about the artist which still, after more than two decades, inspire this author’s own studies until today.
Athanasius was one of the first writers to argue for the Holy Spirit's divinity, and the majority of his seven dozen works include at least one reference to the Holy Spirit. Yet, Athanasius is mainly remembered for his Christological writings and role in the so-called "Arian" controversy. Only a limited number of studies have looked at his pneumatology, and these studies have usually focused on Athanasius’s Letters to Serapion on the Holy Spirit (ca. 359–361), leaving a gap in our understanding of Athanasius’s prior pneumatology. By exploring the period from Athanasius’s election as bishop (328) to the completion of the third Oration against the Arians (ca. 345), this book seeks to help fill this gap. The first part argues that by the mid-330s, Athanasius had begun to establish core pneumatological perspectives that he would maintain for the rest of his career. Part two examines Athanasius’s three Orations, giving particular attention to Orations 1–2. Without the pneumatological perspectives that he established in the 330s and 340s, Athanasius would not have been prepared for his Letters to Serapion, where he took the next steps of confessing the Holy Spirit’s divine nature and role in creating the world.
A resurgence of Trinitarian interest gained momentum in the twentieth century and it is showing little sign of abating in the twenty-first century. This research endeavors to critically evaluate Miroslav Volf's ecclesial model for "the church as the image of the Trinity," one that he presents with the English title, After Our Likeness. Volf proposes a social doctrine of the Trinity, one that is heavily influenced by the theological writings of Jurgen Moltmann, and he puts forward that this nonhierarchical Trinity should be reflected in the structures and theology of the church. If Volf is correct, then a radical reshaping is needed for the church to conform to an egalitarian pattern, one that is "after the likeness" (Gen 1:26) of an egalitarian God. In this critical examination, Kevin J. Bidwell begins by stating the theological influences that are pertinent to Volf's thesis in After Our Likeness and the assumptions that undergird and inform his whole theological paradigm. An important theological excursus is offered to assess the theology of John Smyth, the first English Baptist, who is Volf's representative figure for the location of his own ecclesiology, the Free Church. A critical analysis follows of Volf's engagement with his two chosen dialogue partners who represent both Western and Eastern theological traditions: Joseph Ratzinger and John D. Zizioulas. Volf presents five theses for "the church as the image of the Trinity," which could be labeled as Volf's Free Church in the image of Volf's revised doctrine of the Trinity. This monograph offers extensive insight into the contemporary debate on the doctrine of the Trinity, but it also assesses many aspects of ecclesiology from both Eastern and Western perspectives.
This book analyses and synthesises past and current approaches to STEM Education in the Early Years, particularly the role of digital technologies and play based pedagogies, and provides a look forward to a new way of conceiving STEM Education. It presents a literature review of existing best practice in STEM education, both in Australia and internationally. It also presents theoretical and pedagogical discussions that outlines a new approach to STEM Education, based on a four-year, longitudinal, Early Years project. It provides educational frameworks for educators' use to enhance student learning in STEM, both in formal school contexts and beyond. This book focuses on a number of core themes in the research literature, including STEM education policy (nationally and internationally); the economic, social and political implication of STEM Education; the nexus between digital technologies, STEM, and play based pedagogies; the confidence and competence of early childhood educators and their professional development requirements; STEM education beyond formal schooling; and a new pedagogical approach to STEM education.
Though Americans spend more than $25 billion a year on sports and sporting events, this book argues that the influence of sports on our lives is even more profound than this huge figure would seem to suggest. Exploring such topics as the role of sports in the creation of mass culture, cheating, the abuse of illegal drugs, the strange and fascinating role that numbers play in sporting events, and the future of spectator sport, this book surveys the outsized impact that sports have on American culture. The author draws from new work in such fields as history, economics, politics, sociology, psychology, and ethics to support his claims. Instructors considering this book for use in a course may request an examination copy here.
Religious poetry has often been regarded as minor poetry and dismissed in large part because poetry is taken to require direct experience; whereas religious poetry is taken to be based on faith, that is, on second or third hand experience. The best methods of thinking about "experience" are given to us by phenomenology. Poetry and Revelation is the first study of religious poetry through a phenomenological lens, one that works with the distinction between manifestation (in which everything is made manifest) and revelation (in which the mystery is re-veiled as well as revealed). Providing a phenomenological investigation of a wide range of “religious poems”, some medieval, some modern; some written in English, others written in European languages; some from America, some from Britain, and some from Australia, Kevin Hart provides a unique new way of thinking about religious poetry and the nature of revelation itself.
In these pages, Kevin Crossley-Holland visits the foreign land of childhood. First memories as a war-baby; starting a museum; being coached at Lord's; living above the spring line below the great chalk cross at Whiteleaf in the Chiltern Hills, and roaming in the beechwoods; holidays on the north Norfolk coast; falling under the spell of Arthurian legend... Above all, The Hidden Roads revolves around the sanctity and splintering of family, and the bonding of brother and sister, and is steeped in the landscapes and layers of England.
The chimpanzee is one of our planet's best-loved and most instantly recognisable animals. Splitting from the human lineage between four and six million years ago, it is (along with its cousin, the bonobo) our closest living relative, sharing around 94% of our DNA. First encountered by Westerners in the seventeenth century, virtually nothing was known about chimpanzees in their natural environment until 1960, when Jane Goodall travelled to Gombe to live and work with them. Accessibly written, yet fully referenced and uncompromising in its accuracy and comprehensiveness, this book encapsulates everything we currently know about chimpanzees: from their discovery and why we study them, to their anatomy, physiology, genetics and culture. The text is beautifully illustrated and infused with examples and anecdotes drawn from the author's thirty years of primate observation, making this a perfect resource for students of biological anthropology and primatology as well as non-specialists interested in chimpanzees.
What is it about irony - as an object of serious philosophical reflection and a literary technique of considerable elasticity - that makes it an occasion for endless critical debate? This book responds to that question by focusing on several key moments in German romanticism and its afterlife in twentieth-century French thought and writing. Rather than provide a history of irony, it examines particular occasions of ironic disruption, thus offering an alternative model for conceiving of historical occurrences and their potential for acquiring meaning.
“Brianton’s well-documented study of a Hollywood controversy delves into one example of the post-WWII Red Scare” (Publishers Weekly). On October 22, 1950, the Screen Directors Guild (SDG) gathered for a meeting at the opulent Beverly Hills Hotel. Among the group’s leaders were some of the most powerful men in Hollywood—John Ford, Cecil B. DeMille, Joseph L. Mankiewicz, John Huston, Frank Capra, William Wyler, and Rouben Mamoulian—and the issue on the table was nothing less than a vote to dismiss Mankiewicz as the guild’s president after he opposed an anticommunist loyalty oath that could have expanded the blacklist. The dramatic events of that evening have become mythic, and the legend has overshadowed the more complex realities of this crucial moment in Hollywood history. In Hollywood Divided, Kevin Brianton explores the myths associated with the famous meeting and the real events that they often obscure. He analyzes the lead-up to that fateful summit, examining the pressure exerted by the House Un-American Activities Committee. Brianton reveals the internal politics of the SDG, its initial hostile response to the HUAC investigations, the conservative reprisal, and the influence of the oath on the guild and the film industry as a whole. Hollywood Divided also assesses the impact of the historical coverage of the meeting on the reputation of the three key players in the drama. Brianton’s study is a provocative and revealing revisionist history of the SDG’s 1950 meeting and its lasting repercussions on the film industry as well as the careers of those who participated. Hollywood Divided illuminates how both the press's and the public's penchant for the “exciting story” have perpetuated fabrications and inaccurate representations of a turning point for the film industry. Huffington Post Best Film Books of 2016 Praise for Hollywood Divided “An authoritative reassessment of the meetings held by the Screen Directors Guild in 1950 to consider the adoption of a loyalty oath. Brianton traces the implications for the film industry and the reputations of key filmmakers, including Cecil DeMille and John Ford. He also offers sharp and illuminating reflections on the making of Hollywood history and myth.” —Brian Neve, author of The Many Lives of Cy Endfield: Film Noir, the Blacklist and Zulu “A breakthrough book on a topic that historians, for the most part, have considered settled. Brianton’s landmark study is fresh, thorough, and balanced, a model of Hollywood historiography. In clear prose, he takes the reader through the detailed twists and turns that created both the myth and the subsequent legend of the fateful Directors Guild Meeting that occurred during a critical time in American history.” —James D’Arc, Curator, Cecil B. DeMille Papers, Brigham Young University
More than a century after Guido Adler's appointment to the first chair in musicology at the University of Vienna, Music, Criticism, and the Challenge of History provides a first look at the discipline in this earliest period, and at the ideological dilemmas and methodological anxieties that characterized it upon its institutionalization. Author Kevin Karnes contends that some of the most vital questions surrounding musicology's disciplinary identities today-the relationship between musicology and criticism, the role of the subject in analysis and the narration of history, and the responsibilities of the scholar to the listening public-originate in these conflicted and largely forgotten beginnings. Karnes lays bare the nature of music study in the late nineteenth century through insightful readings of long-overlooked contributions by three of musicology's foremost pioneers-Adler, Eduard Hanslick, and Heinrich Schenker. Shaped as much by the skeptical pronouncements of the likes of Nietzsche and Wagner as it was by progressivist ideologies of scientific positivism, the new discipline comprised an array of oft-contested and intensely personal visions of music study, its value, and its future. Karnes introduces readers to a Hanslick who rejected the call of positivist scholarship and dedicated himself to penning an avowedly subjective history of Viennese musical life. He argues that Schenker's analytical experiments had roots in a Wagner-inspired search for a critical alternative to Adler's style-obsessed scholarship. And he illuminates Adler's determined response to Nietzsche's warnings about the vitality of artistic and cultural life in an increasingly scientific age. Through sophisticated and meticulous presentation, Music, Criticism, and the Challenge of History demonstrates that the new discipline of musicology was inextricably tied in with the cultural discourse of its time.
Modernism's theological project was an attempt to explain two things: firstly, how faith might enable persons to experience their lives as hanging together, even in the face of disintegrating forces like injustice, tragedy, and luck; and secondly, how one could see such faith, and so a life held together by it, as self-expressive. Modern theologians such as Kant, Schleiermacher, Hegel, Ritschl, and Tillich thus offer accounts of how one's life would have to hang together such that one could identify with it; of the oppositions which stand in the way of such hanging-together; of God as the one by whom oppositions are overcome, such that one can have faith that one's life ultimately hangs together; and of what such faith would have to be like in order for one to identify with it, too. So understood, modern theology not only sheds light on faith's potential role in enabling persons to identify with their lives, but stands in unexpected continuity with contemporary "contextual" theologies. This book offers clear, careful readings of modernism's key figures in order to explain their relevance to practical concerns and to contemporary understandings of faith.
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