“Multiverse” cosmologies imagine our universe as just one of a vast number of others. While this idea has captivated philosophy, religion, and literature for millennia, it is now being considered as a scientific hypothesis—with different models emerging from cosmology, quantum mechanics, and string theory. Beginning with ancient Atomist and Stoic philosophies, Mary-Jane Rubenstein links contemporary models of the multiverse to their forerunners and explores their current emergence. One reason is the so-called fine-tuning of the universe: nature’s constants are so delicately calibrated, it seems they have been set just right to allow life to emerge. For some theologians, these “fine-tunings” are proof of God; for others, “God” is an insufficient explanation. One compelling solution: if all possible worlds exist somewhere, then it is no surprise one of them happens to be suitable for life. Yet this hypothesis replaces God with an equally baffling article of faith: the existence of universes beyond, before, or after our own, eternally generated yet forever inaccessible. In sidestepping metaphysics, multiverse scenarios collide with it, producing their own counter-theological narratives. Rubenstein argues, however, that this interdisciplinary collision provides the condition of its scientific viability, reconfiguring the boundaries among physics, philosophy, and religion.
Chicago Writers Association Nonfiction Book of the Year (2017) Society of Midland Authors Literary Award in Biography (2017) A tireless champion of the downtrodden, Nelson Algren, one of the most celebrated writers of the 20th century, lived an outsider's life himself. He spent a month in prison as a young man for the theft of a typewriter; his involvement in Marxist groups earned him a lengthy FBI dossier; and he spent much of his life palling around with the sorts of drug addicts, prostitutes, and poor laborers who inspired and populated his novels and short stories. Most today know Algren as the radical, womanizing writer of The Man with the Golden Arm, which won the first National Book Award, in 1950, but award-winning reporter Mary Wisniewski offers a deeper portrait. Starting with his childhood in the City of Big Shoulders, Algren sheds new light on the writer's most momentous periods, from his on-again-off-again work for the WPA to his stint as an uninspired soldier in World War II to his long-distance affair with his most famous lover, Simone de Beauvoir, to the sense of community and acceptance Algren found in the artist colony of Sag Harbor before his death in 1981. Wisniewski interviewed dozens of Algren's closest friends and inner circle, including photographer Art Shay and author and historian Studs Terkel, and tracked down much of his unpublished writing and correspondence. She unearths new details about the writer's life, work, personality, and habits and reveals a funny, sensitive, and romantic but sometimes exasperating, insecure, and self-destructive artist. The first new biography of Algren in over 25 years, this fresh look at the man whose unique style and compassionate message enchanted readers and fellow writers and whose boyish charm seduced many women is indispensable to anyone interested in 20-century American literature and history.
In these humor-filled stories, the fast-paced, action-packed police procedural genre is translated into a world inhabited exclusively by teddy bears. Inspector Blue Bearolli of the Grunion Beach P.D. Homicide Division and his two detectives, Bernard Bearstein and Billye Bare, combine their considerable talents to solve baffling murders committed by the ruthless and unscrupulous teddy bear criminal element. In The Trial of Emory Board, the inspector unravels the curiously entangled motivations that led to the shooting of a jumper from a high-rise apartment building as he plummeted to his death. Was this a suicide or a murder? In Hit Bear, Billye is befriended by a handsome cowbear who has been hired to eliminate the inspector and very nearly succeeds. In Billye, the beautiful young detective has difficulty maintaining her objectivity as she works on a case that chillingly recalls an episode in her youth when she was accused of murder.
This superb resource and guide for children and adults alike answers all sorts of "who" and "what" and "why" questions about saints, the liturgical seasons, Jewish and Muslim holy days, and significant national holidays. You will find an amazing variety of information on how these people and days hold meaning for our lives today. Use this book in conjunction with LTP's Year of Grace calendar in the home or in the classroom. A list of suggested readings, a bibliography and a handy index are included.
In this first comprehensive history of immigrant inequality in France, Mary D. Lewis chronicles the conflicts arising from mass immigration between the First and Second World Wars, the uneven rights arrangements that emerged during this time, and their legacy for contemporary France.
Pantheism is the idea that God and the world are identical—that the creator, sustainer, destroyer, and transformer of all things is the universe itself. From a monotheistic perspective, this notion is irremediably heretical since it suggests divinity might be material, mutable, and multiple. Since the excommunication of Baruch Spinoza, Western thought has therefore demonized what it calls pantheism, accusing it of incoherence, absurdity, and—with striking regularity—monstrosity. In this book, Mary-Jane Rubenstein investigates this perennial repugnance through a conceptual genealogy of pantheisms. What makes pantheism “monstrous”—at once repellent and seductive—is that it scrambles the raced and gendered distinctions that Western philosophy and theology insist on drawing between activity and passivity, spirit and matter, animacy and inanimacy, and creator and created. By rejecting the fundamental difference between God and world, pantheism threatens all the other oppositions that stem from it: light versus darkness, male versus female, and humans versus every other organism. If the panic over pantheism has to do with a fear of crossed boundaries and demolished hierarchies, then the question becomes what a present-day pantheism might disrupt and what it might reconfigure. Cobbling together heterogeneous sources—medieval heresies, their pre- and anti-Socratic forebears, general relativity, quantum mechanics, nonlinear biologies, multiverse and indigenous cosmologies, ecofeminism, animal and vegetal studies, and new and old materialisms—Rubenstein assembles possible pluralist pantheisms. By mobilizing this monstrous mixture of unintentional God-worlds, Pantheologies gives an old heresy the chance to renew our thinking.
This contemporary text is part of Pearson's groundbreaking "Justice Series," and takes a fresh look at criminal law while maintaining a real-world focus." "Criminal Law "is part of the groundbreaking new series in which best-selling authors and designers have come together focused on one goal - to improve student performance across the criminal justice curriculum. This text maintains a brief format, yet offers a comprehensive introduction to criminal law. The book presupposes no legal expertise, connects criminal law cases to the real world through innovative pedagogy, carefully examines the logic behind high-profile court decisions, and encourages students, through numerous decision making exercises, to be critical thinkers by putting them in the position of the judge, jury, prosecutor or defense attorney. 013376883X / 9780133768831 Criminal Law (Justice Series) Plus NEW MyCJLab with Pearson eText -- Access Card Package Package consists of 0132768496 / 9780132768498 NEW MyCJLab with Pearson eText -- Access Card -- for Criminal Justice Today: An Introductory 0133145573 / 9780133145571 Criminal Law (Justice Series)
The first ever culinary guide to the Canberra region, this unique book includes anything and everything to do with food and wine. Whatever you're after, whether it's kaffir lime leaves or kosher foods, bush tucker or brie, Capital Taste will show you where to find it.
During the early modern period, western Europe was transformed by the proliferation of new worlds—geographic worlds found in the voyages of discovery and conceptual and celestial worlds opened by natural philosophy, or science. The response to incredible overseas encounters and to the profound technological, religious, economic, and intellectual changes occurring in Europe was one of nearly overwhelming wonder, expressed in a rich variety of texts. In the need to manage this wonder, to harness this imaginative overabundance, Mary Baine Campbell finds both the sensational beauty of early scientific works and the beginnings of the divergence of the sciences—particularly geography, astronomy, and anthropology—from the writing of fiction. Campbell's learned and brilliantly perceptive new book analyzes a cross section of texts in which worlds were made and unmade; these texts include cosmographies, colonial reports, works of natural philosophy and natural history, fantastic voyages, exotic fictions, and confessions. Among the authors she discusses are André Thevet, Thomas Hariot, Francis Bacon, Galileo, Margaret Cavendish, and Aphra Behn. Campbell's emphasis is on developments in England and France, but she considers works in languages other than English or French which were well known in the polyglot book culture of the time. With over thirty well-chosen illustrations, Wonder and Science enhances our understanding of the culture of early modern Europe, the history of science, and the development of literary forms, including the novel and ethnography.
Identifies and summarizes thousands of books, article, exhibition catalogues, government publications, and theses published in many countries and in several languages from the early nineteenth century to 1981.
A tuba player without a tuba and his jellyfish-imitating sister cope with their father's disappearance in this hilarious and moving novel by the author of The Mortification of Fovea Munson. When Lenny Volpe, former quarterback of the worst professional football team in the nation, leaves his family and disappears, the Chicago Horribles win their first game in a long time. Fans are thrilled. The world seems to go back to normal. Except for the Volpe kids. Winston throws himself into playing the tuba, and Louise starts secret experiments to find a cure for brain injuries, and they're each fine, just fine, coping in their own way. That is, until the investigation of some eccentric teacher behavior and the discovery of a real live bear paraded as the Horribles' new mascot make it clear that things are very much Not Fine. The siblings may just need each other, after all.
Diane Balfour was the only child of an artist who had begun life with high aspirations and ended it with disappointment. He had married young, while in France. He married a French girl, whose face was her only fortune, the daughter of an officer who died in Algiers--Diane de Lioncourt. He brought her to England, and although happy in his love and in his marriage, evil fortune seemed to pursue him. His health failed. He had genius, and if he had been strong would have left his mark on the age; the merits of Lawrence Balfour's pictures were not appreciated until after his death. He lived in France until after the birth of his daughter Diane, so named after her mother. Then they came to England and for six years remained in London. Then his wife died; and he betook himself to a wandering life. In his travels his daughter was his sole companion. Together they would wander through the cities of Italy and Spain, through Switzerland and the Rhine land, the artist teaching his daughter, imbuing her with his love of beauty and art. Lawrence Balfour preserved his daughter from all evil, from all knowledge of harm; she had no friends except the artists who visited her father's studio, and who respected the child as they would have done the presence of an angel. She not only grew up retaining all her innocence, but she learned nothing of the world. They had a reverent way of talking, these artists, and next to religion, taught her to love art. Of the shows, tricks, frauds, treachery, the deceit men and women practice she knew nothing. No one in her presence had ever talked of flirtation, love, or marriage; at sixteen she was ignorant of these things; she had never thought of a lover or of love; her father and the world of beauty filled her heart and soul. Then Lawrence Balfour found his health failing fast. Some one told him to try the warm Devonshire air, and he determined to do so.
From Abelard to Zubaydah, here is a biographical dictionary of notable men and women of the Middle Ages. Hundreds of entries span the fifth to the fifteenth centuries, covering a broad range of creative, vigorous, and influential people from Europe and the Middle East. Each entry includes both personal and historical details, alternate name spellings, and references for further reading. A rich selection of appendices includes a chronology of events; a chronology of popes, emperors and monarchs; a list of colleges and universities of the Middle Ages; a list of major monasteries, abbeys, and convents and an alphabetical list of individuals by occupation.
Garrard, one of a small handful of truly distinguished feminist art historians, presents a detailed and visually convincing account of the relationship between nature and art in all its fraught and gendered cultural meaning from antiquity on. Brunelleschi's Egg constitutes an exemplary feat of interdisciplinary study that requires no specialized theoretical baggage to follow and emulate."--Mieke Bal, author of Of What One Cannot Speak: Doris Salcedo's Political Art "Mary Garrard's discerning eye and deep knowledge of Renaissance art informs this fascinating book. She offers a sophisticated exploration of a rich artistic conversation on the relationship of nature and art, describing the central role of gender in structuring artists' complex and changing attitudes toward nature. Brunelleschi's Egg is so much more than a history of style; it maps the changing mindsets of Renaissance society in the several centuries during which scientific developments gradually seized masculine authority, relegating both art and nature to mastered femininity. This book provides new perspective on Italian Renaissance masterworks; it will be central to future discussion of Renaissance art." --Margaret R. Miles, author of A Complex Delight: The Secularization of the Breast, 1350-1750 "In this sweeping study, the magnum opus of one of feminist art history's founding mothers, Mary Garrard extends the gendered critique of art into the realms of philosophy and science, psychology and myth. Her eloquently prophetic and richly detailed synthesis chronicles western culture's increasing feminization of nature and art, and its parallel masculinization of the human mind (both male and female), as a Renaissance tragedy on an epic scale. The book is a must-read for historians of the early modern period, with a theme also of urgent contemporary concern."--James M. Saslow, author of Pictures and Passions: A History of Homosexuality and Art "A completely new and thoroughly convincing way of looking at the major monuments of the Italian Renaissance. The ideas in Brunelleschi's Egg are so compelling that it is hard to imagine a reader who would not be drawn into the analysis."--Jacqueline Marie Musacchio, author of Art, Marriage, and Family in the Italian Renaissance Palace "Garrard offers an unprecedented perspective on an amazing plethora of seminal works. Written beautifully, Brunelleschi's Egg is nothing but exemplary."--Yael Even, University of Missouri, St. Louis
While witches fly and ghosts go by on a Halloween weekend, a Hollywood cast and crew descend upon Hillside Manor. Judith McMonigle Flynn′s worst nightmare is realised when yet another guest, mega-producer Bruno Zepf, drowns in the kitchen sink. When is a murder not a murder, but an accident that could cost Judith her beloved B&B? The police are baffled, so Judith and cousin Renie try to find a killer - any killer will do - to fend off a five-star lawsuit.
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