A History of Medieval Philosophy(View amazon detail page)ASIN: 0061317861

A History of Medieval Philosophy

Politics & Social Sciences

Frederick Charles Copleston

Philosophy

University of Notre Dame Press

The Peoples of Ireland

History

DePaor, Liam

Ancient Civilizations

At the intersection of Soonish and Netflix's Black Mirror, award-winning science fiction authors from around the world offer original tales of relationships in a future world of evolving technology. In a future world dominated by the technological, people will still be entangled in relationships--in romances, friendships, and families. This volume in the Twelve Tomorrows series considers the effects that scientific and technological discoveries will have on the emotional bonds that hold us together. The strange new worlds in these stories feature AI family therapy, floating fungitecture, and a futuristic love potion. Contributions include Xia Jia's novelette set in a Buddhist monastery, translated by the Hugo Award-winning writer Ken Liu; and a story by Nancy Kress, winner of six Hugos and two Nebulas.

Contemplation in a World of Action: Second Edition, Restored and Corrected (Gethsemani Studies in Psychological and Religious Anthropology) ... Psychological and Religious Anthropology, 1)

Literature & Fiction

MERTON, THOMAS

United States

An exploration of echo not as simple repetition but as an agent of creative possibilities. In this volume in the MIT Press Essential Knowledge series, Amit Pinchevski proposes that echo is not simple repetition and the reproduction of sameness but an agent of change and a source of creation and creativity. Pinchevski views echo as a medium, connecting and mediating across and between disparate domains. He reminds us that the mythological Echo, sentenced by Juno to repeat the last words of others, found a way to make repetition expressive. So too does echo introduce variation into sameness, mediating between self and other, inside and outside, known and unknown, near and far. Echo has the potential to bring back something unexpected, either more or less than what was sent. Pinchevski distinguishes echo from the closely related but sometimes conflated reflection, reverberation, and resonance; considers echolalia as an active, reactive, and creative vocalic force, the launching pad of speech; and explores echo as a rhetorical device, steering between appropriation and response while always maintaining relation. He examines the trope of echo chamber and both destructive and constructive echoing; describes various echo techniques and how echo can serve practical purposes from echolocation in bats and submarines to architecture and sound recording; explores echo as a link to the past, both literally and metaphorically; and considers echo as medium using Marshall McLuhan's tetrad.

The Peaceable Kingdom: A Primer In Christian Ethics

Hauerwas,Stanley

History & Criticism

How the tools of STS can be used to understand art and science and the practices of these knowledge-making communities. In Art, Science, and the Politics of Knowledge, Hannah Star Rogers suggests that art and science are not as different from each other as we might assume. She shows how the tools of science and technology studies (STS) can be applied to artistic practice, offering new ways of thinking about people and objects that have largely fallen outside the scope of STS research. Arguing that the categories of art and science are labels with specific powers to order social worlds--and that art and science are best understood as networks that produce knowledge--Rogers shows, through a series of cases, the similarities and overlapping practices of these knowledge communities.&nbsp; &nbsp; The cases, which range from nineteenth-century artisans to contemporary bioartists, illustrate how art can provide the basis for a new subdiscipline called art, science, and technology studies (ASTS), offering hybrid tools for investigating art-science collaborations. Rogers's subjects include the work of father and son glassblowers, the Blaschkas, whose glass models, produced in the nineteenth century for use in biological classification, are now displayed as works of art; the physics photographs of documentary photographer Berenice Abbott; and a bioart lab that produces work functioning as both artwork and scientific output. Finally, Rogers, an STS scholar and contemporary art-science curator, draws on her own work to consider the concept of curation as a form of critical analysis.

Religion and State in the American Jewish Experience

Arts & Photography

Dalin, David G.

Sarna, Jonathan D.

Lessons from and for the creative professions of art, science, design, and engineering: how to live in and with the Plenitude, that dense, knotted ecology of human-made stuff that creates the need for more of itself.\nWe live with a lot of stuff. The average kitchen, for example, is home to stuff galore, and every appliance, every utensil, every thing, is compound—composed of tens, hundreds, even thousands of other things. Although each piece of stuff satisfies some desire, it also creates the need for even more stuff: cereal demands a spoon; a television demands a remote. Rich Gold calls this dense, knotted ecology of human-made stuff the "Plenitude." And in this book—at once cartoon treatise, autobiographical reflection, and practical essay in moral philosophy—he tells us how to understand and live with it.\nGold writes about the Plenitude from the seemingly contradictory (but in his view, complementary) perspectives of artist, scientist, designer, and engineer—all professions pursued by him, sometimes simultaneously, in the course of his career. "I have spent my life making more stuff for the Plenitude," he writes, acknowledging that the Plenitude grows not only because it creates a desire for more of itself but also because it is extraordinary and pleasurable to create.\nGold illustrates these creative expressions with witty cartoons. He describes "seven patterns of innovation"—including "The Big Kahuna," "Colonization" (which is illustrated by a drawing of "The real history of baseball," beginning with "Play for free in the backyard" and ending with "Pay to play interactive baseball at home"), and "Stuff Desires to Be Better Stuff" (and its corollary, "Technology Desires to Be Product"). Finally, he meditates on the Plenitude itself and its moral contradictions. How can we in good conscience accept the pleasures of creating stuff that only creates the need for more stuff? He quotes a friend: "We should be careful to make the world we actually want to live in."

Summa Contra Gentiles: Book One,God

Thomas, Aquinas

Business & Money

The poems of an architect whose affection for urban reality and imagined space is as evident in his writing as in his buildings and drawings.
The poems of John Hejduk are almost nonpoetic: still lives of memory, sites of possessed places. They give a physical existence to the words themselves and an autobiographical dimension to the architect. Architect Peter Eisenman likens them to "secret agents in an enemy camp."Writing about Hejduk's poems in 1980, Eisenman observed, "Walter Benjamin has said that Baudelaire's writings on Paris were often more real than the experience of Paris itself. Both drawing and writing contain a compaction of themes which in their conceptual density deny reduction and exfoliation for a reality of another kind: together they reveal an essence of architecture itself." This is the first comprehensive collection of Hejduks poems to be published outside an architectural setting.

Bergsonian Philosophy and Thomism: Collected Works of Jacques Maritain, Volume 1

MARITAIN, Jacques

Europe

The themes of the 1997 conference are new theoretical and practical accomplishments in logic programming, new research directions where ideas originating from logic programming can play a fundamental role, and relations between logic programming and other fields of computer science.

Theo-Poetics: Hans Urs von Balthasar and the Risk of Art and Being

Carpenter, Anne M.

Economics

Although general equilibrium theory originated in the late nineteenth century, modern elaboration and development of the theory began only in the 1930s and 1940s. This book focuses on the version of the theory developed in the second half of the twentieth century, referred to by Lionel McKenzie as the classical general equilibrium theory. McKenzie offers detailed and rigorous treatment of the classical model, giving step-by-step proofs of the basic theorems. In many cases he elaborates on the individual steps to give a fuller understanding of the underlying principles. His goal is to provide readers with a true mastery of the methodology so that they can derive new results that will further enrich their thinking about general equilibrium theory. Special attention is given to the McKenzie model, in which it is not assumed that the number of firms is given but rather that technologies or activities are available to any agents who can supply the resources they require. The McKenzie model is used to establish the turnpike theorems of optimal and competitive capital accumulation.

Christians in the Warsaw Ghetto: An Epitaph for the Unremembered

Biographies & Memoirs

Dembowski, Peter F.

Historical

Was the Beowulf-poet a Christian or was he a noble pagan whose outlook had been only slightly colored by exposure to Christian thinking? This is but one of the fascinating topics discussed in this anthology of criticism on the early medieval masterpiece. The eighteen contribution to the anthology are arranged chronologically according to the date of the criticism's first publication. The outstanding scholars whose critical writing is presented here range from the turn-of-the-century critic F. A. Blackburn through the Englishman J. R. R. Tolkien to such contemporaries as Kemp Malone, Morton Bloomfield, and R. E. Kaske. Nearly every aspect of the Beowulf is discussed and controverted in terms of literary analysis. Old English, Old Norse, Latin, and Old French passages are translated in the accompanying text as an aid to undergraduate students meeting Beowulf for the first time.

An Anthology of Beowulf Criticism

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