The Impossible Imperative brings to life the daily efforts of child welfare professionals working on behalf of vulnerable children and families. Stories that highlight the work, written by child welfare staff on the front lines, speak to the competing principles that shape everyday decisions. The book shows that, rather than being a simple task of protecting children, the field of child welfare is shaped by a series of competing ideas. The text features eight principles that undergird child protection practice, all of which are typically in conflict with others. These principles guide practice and direct the course of policymaking, but when liberated from their aspirational context and placed in the real world, they are fraught with contradiction. The Impossible Imperative is designed to inspire a lively debate about the fundamental nature of child welfare and about the principles that serve as the foundation for the work. It can be used as a teaching tool for aspiring professionals and as motivation to those looking to social work to make a difference in the world.
The Command of Grace sets forth a bold new critical initiative in theological apologetics, one that advances a fundamental reassessment of theological self-understanding and method today, especially in its attentiveness to the present reality of God in revelation. Many recent, predominating trends have tended to treat theological truth as something cognitively self-guaranteeing ('tauto-theological') within doctrinal or other theoretical domains. Against this, and drawing on the philosophical heritage and Jewish thought, the book seeks to revive other basic modes of human attentiveness for fundamental theological questioning. These are: 'causal' attentiveness encountered through the faculties of bodily sensibility; and 'appetitive' or 'motive' attentiveness encountered in the faculty of desire. Especially crucial here is the rejuvenation of the primacy of 'motive reasoning' (reasoning with regard to motivations and desires) for theology's apologetical self-understanding, in addition to its normal engagement with 'cognitive reasoning' (reasoning with regard to percepts and concepts). If God in his transcendent 'Godness' meets us in revelation not at the margins of the speculative intellect in the form of a denotatum for cognitive apprehension, but rather at the very centre of embodied life in the form of a summons to motivated action, then theology must seek to be attentive to God through all the endowed faculties of embodied-rational life: cognitive, sensible, and motive-appetitive.
Limit Cinema explores how contemporary global cinema represents the relationship between humans and nature. During the 21st century this relationship has become increasingly fraught due to proliferating social and environmental crises; recent films from Lars von Trier's Melancholia (2011) to Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives (2010) address these problems by reflecting or renegotiating the terms of our engagement with the natural world. In this spirit, this book proposes a new film philosophy for the Anthropocene. It argues that certain contemporary films attempt to transgress the limits of human experience, and that such 'limit cinema' has the potential to help us rethink our relationship with nature. Posing a new and timely alternative to the process philosophies that have become orthodox in the fields of film philosophy and ecocriticism, Limit Cinema revitalizes the philosophy of Georges Bataille and puts forward a new reading of his notion of transgression in the context of our current environmental crisis. To that end, Limit Cinema brings Bataille into conversation with more recent discussions in the humanities that seek less anthropocentric modes of thought, including posthumanism, speculative realism, and other theories associated with the nonhuman turn. The problems at stake are global in scale, and the book therefore engages with cinema from a range of national and cultural contexts. From Ben Wheatley's psychological thrillers to Nettie Wild's eco-documentaries, limit cinema pushes against the boundaries of thought and encourages an ethical engagement with perspectives beyond the human.
Biologist Mackenzie Connor is charged with protecting the human race after a devastating alien invasion in this first book in the Species Imperative science fiction series Herself a biologist, Julie E. Czerneda has earned a reputation in science fiction circles for her ability to create beautifully crafted, imaginative, yet believably realized alien races. In Survival, the first novel in her new series, Species Imperative, she draws upon this talent to build races, characters, and a universe which will draw readers into a magnificent tale of interstellar intrigue, as an Earth scientist is caught up in a terrifying interspecies conflict. Senior co-administrator of the Norcoast Salmon Research Facility, Dr. Mackenzie Connor, Mac to her friends and colleagues, was a trained biologist, whose work had definitely become her life. And working at Norcoast Base, set in an ideal location just where the Tannu River sped down the west side of the Rocky Mountains to the Pacific Coast was the perfect situation for Mac. She and fellow scientist Dr. Emily Mamani were just settling in to monitor this year's salmon runs when their research was interrupted by the unprecedented arrival of Brymn, the first member of the alien race known as the Ohryn to ever set foot on Earth. Brymn was an archaeologist, and much of his research had focused on a region of space known as the Chasm, a part of the universe that was literally dead, all of its worlds empty of any life-forms, though traces existed of the civilizations that must once have flourished in the region. Brymn had sought out Mac because she was a biologist -- a discipline strictly forbidden among his own people -- and he felt that through her expertise she might be able to help him discover what had created the Chasm. But Mac had little interest in alien races and in studies that ranged beyond Earth, and as politely as she was capable of, she tried to make it clear that she was unwilling to abandon her own work. However, the decision was soon taken out of her hands when a mysterious and devastating attack on the Base resulted in the abduction of Emily, and forced Mac to flee for her life with Brymn and the Earth special agents who were escorting him. Suddenly, it appeared that Earth itself might be under attack by the legendary race the Ohryn called the Ro, the beings they thought might be the destructive force behind the Chasm. Cut off from everything and everyone she knew, Mac found herself in grave danger and charged with the responsibility of learning everything she could that might possibly aid Earth in protecting the human race from extinction...
What is the role of politics in the classroom? How does the desire of the teacher shape the pedagogical process? Is teaching possible? Is learning possible? Pedagogy as Encounter engages with such larger issues. The majority of discussions, workshops, conference panels, articles, and books avoid meta-pedagogical issues by focusing on technique. Such “technique talk” examines schemes, methods, and procedures that do and do not work in the classroom. It answers the “how” question at the cost of ignoring these bigger queries. Pedagogy as Encounter consists of 120 vignettes arranged in eight chapters. Most of these are first person autobiographical stories that describe encounters with students and colleagues. They portray a teacher whose classroom disappointments lead him to radical experimentation. But there are also a few theoretical sections, as well as segments that are epigrammatic in nature. All of it is grounded in a Lacanian political psychology and in a critical global political economy. The theory, however, remains largely implicit and is confined to the footnotes. The body of the text is free of jargon and presented in a conversational voice.
Apollonius Dyscolus was the first formal syntactician in Graeco-Roman linguistics. He considered the nature of language to be logical and rule-governed, and assumed an underlying structure for all levels of language. It might be said that from the work of his predecessors, he extracted syntax. This volume contains an English translation of — mainly — Uhlig’s 1910 edition of De Constructione Libri Quattor (Peri Suntaxeōs), with commentary, an introduction, and an article on Apollonius Dyscolus and the Origins of Deep Structure.
McGee explores the political significance of aesthetic analysis in the context of cultural studies, and asks how political responsibility can be reconciled with the concept of the university as a democratic institution.
This text offers a new concept of Social Work that is an inspiring and practical vision of what Social Work is and should be, placing rights at the heart of practice, enabling students and workers to become more confident dealing with the uncomfortable realities of practice.
A militant Marxist atheist and a “Radical Orthodox” Christian theologian square off on everything from the meaning of theology and Christ to the war machine of corporate mafia. “What matters is not so much that Žižek is endorsing a demythologized, disenchanted Christianity without transcendence, as that he is offering in the end (despite what he sometimes claims) a heterodox version of Christian belief.”—John Milbank “To put it even more bluntly, my claim is that it is Milbank who is effectively guilty of heterodoxy, ultimately of a regression to paganism: in my atheism, I am more Christian than Milbank.”—Slavoj Žižek In this corner, philosopher Slavoj Žižek, a militant atheist who represents the critical-materialist stance against religion's illusions; in the other corner, “Radical Orthodox” theologian John Milbank, an influential and provocative thinker who argues that theology is the only foundation upon which knowledge, politics, and ethics can stand. In The Monstrosity of Christ, Žižek and Milbank go head to head for three rounds, employing an impressive arsenal of moves to advance their positions and press their respective advantages. By the closing bell, they have not only proven themselves worthy adversaries, they have shown that faith and reason are not simply and intractably opposed. Žižek has long been interested in the emancipatory potential offered by Christian theology. And Milbank, seeing global capitalism as the new century's greatest ethical challenge, has pushed his own ontology in more political and materialist directions. Their debate in The Monstrosity of Christ concerns the future of religion, secularity, and political hope in light of a monsterful event—God becoming human. For the first time since Žižek's turn toward theology, we have a true debate between an atheist and a theologian about the very meaning of theology, Christ, the Church, the Holy Ghost, Universality, and the foundations of logic. The result goes far beyond the popularized atheist/theist point/counterpoint of recent books by Christopher Hitchens, Richard Dawkins, and others. Žižek begins, and Milbank answers, countering dialectics with “paradox.” The debate centers on the nature of and relation between paradox and parallax, between analogy and dialectics, between transcendent glory and liberation. Slavoj Žižek is a philosopher and cultural critic. He has published over thirty books, including Looking Awry, The Puppet and the Dwarf, and The Parallax View (these three published by the MIT Press). John Milbank is an influential Christian theologian and the author of Theology and Social Theory: Beyond Secular Reason and other books. Creston Davis, who conceived of this encounter, studied under both Žižek and Milbank.
In this wide-ranging book, renowned philosopher and cultural theorist Peter Sloterdijk examines art in all its rich and varied forms: from music to architecture, light to movement, and design to typography. Moving between the visible and the invisible, the audible and the inaudible, his analyses span the centuries, from ancient civilizations to contemporary Hollywood. With great verve and insight he considers the key issues that have faced thinkers from Aristotle to Adorno, looking at art in its relation to ethics, metaphysics, society, politics, anthropology and the subject. Sloterdijk explores a variety of topics, from the Greco-Roman invention of postcards to the rise of the capitalist art market, from the black boxes and white cubes of modernism to the growth of museums and memorial culture. In doing so, he extends his characteristic method of defamiliarization to transform the way we look at works of art and artistic movements. His bold and original approach leads us away from the well-trodden paths of conventional art history to develop a theory of aesthetics which rejects strict categorization, emphasizing instead the crucial importance of individual subjectivity as a counter to the latent dangers of collective culture. This sustained reflection, at once playful, serious and provocative, goes to the very heart of Sloterdijk’s enduring philosophical preoccupation with the aesthetic. It will be essential reading for students and scholars of philosophy and aesthetics and will appeal to anyone interested in culture and the arts more generally.
