When you cast your throne above the stars and planets, and look down to the earth, it is then that man must ask himself if he wishes to follow or to be alone. And if he can then decide that he wants to become all that he can be, and he realizes that there is no beginning and there is no ending, that within itself is the beginning and the ending of life. And when you can transcend nothingness and achieve all things that resurges itself into creation, then creation becomes the void, the void consumes the reality, assembles creation, and moves towards potential and adapts the abilities to transcend thought into matter, matter becomes the perpetual motion of expanding awareness that the universe will recognize, transcending the chemical balance of science to recognize the ion exchange, creating a balance of ethric and matter that corresponds the course of evolution. On the following page you will find a more comprehensive explanation of this proverb. I hope that you enjoy, it was given to me from my instructor Soke Draconis.

Bernard Eugene Meland (1899–1993) was a leader in the pragmatic tradition of constructive theology associated with the University of Chicago. This volume contains more than forty-six previously unpublished lectures, reports, and other personal documents that Meland wrote at various times between 1937 and 1979. It is a companion volume to W. Creighton Peden’s book, Life and Thought of Bernard Eugene Meland, American Constructive Theologian, 1899–1993, and is intended to give the reader a deeper understanding of Meland’s methods and thought.

The classic conception of human transcendental consciousness assumes its self-supporting existential status within the horizon of life-world, nature and earth. Yet this assumed absoluteness does not entail the nature of its powers, neither their constitutive force. This latter call for an existential source reaching beyond the generative life-world network. Transcendental consciousness, having lost its absolute status (its point of reference) it is the role of the logos to lay down the harmonious positioning in the cosmic sphere of the all, establishing an original foundation of phenomenology in the primogenital ontopoiesis of life. ​

In over fifteen years, the cultural and artistic response to 9/11 has been wide-ranging in form and function. As the turbulent post-9/11 years have unfolded – years that have been shaped and characterized by the War on Terror, the Patriot Act, the Wars in Afghanistan and Iraq, 7/7, Abu Ghraib and Guantánamo Bay – these texts have been commemorative and heroic, have attempted to work through collective and individual traumas, and have struggled with trying to represent the “terrorist other.” Many of these earlier domestic, heroic and traumatic works have so often been read as limitations in narrative. This collection, however, challenges the language of limitation and provides re-readings of earlier work, but also traces the emergence of a new paradigm for discussing the artistic responses to 9/11 – one that frames these narratives as dialogic, self-conscious and self-reflexive interventions in the responses to the attacks, the initial representations of the attacks, and the ever-shifting social and geopolitical continuities of the 9/11 decade. These texts widen the conversation about the lasting impacts of 9/11, and incorporate strands of discussion on American exceptionalism and imperialism, torture, and otherness, whilst still remaining invested in the personal and collective traumas of the attacks. The authors included here ask crucial questions about the way 9/11 is being historicized: will it, for example, be read as a moment of rupture or epoch? Will it inevitably be attached to the War on Terror or the Wars in Iraq and Afghanistan? As they trace the emergent patterns of reflexivity, politicization and dissent, the contributions here are also implicitly invested in asking how far they extend.

Introducing the key concepts and thinkers within the Marxist tradition, Marxism Goes to the Movies demonstrates their relevance to film theory and practice past and present. Author Mike Wayne argues that Marxist filmmaking has engaged with and transformed this popular medium, developing its potential for stimulating revolutionary consciousness. As the crisis of capitalism deepens, this history and these resources are vital for a better future. Marxism is one of the few approaches that can bring together political, economic, formal and cultural analysis into a unified approach of studying film, and how films in turn can help us understand and even critically interrogate these forces. The book examines how filmmakers, who have been influenced by Marxism, have made some of the most significant contributions to film culture globally, and provides historical perspective on the development of Marxism and film. Each chapter covers a broad theme that is broken down into sections that are cross-referenced throughout, providing helpful navigation of the material. Clear and concise in its arguments, this is an ideal introduction for students of Marxism and film, inviting readers to deepen their knowledge and understanding of the subject.

The German philosopher Robert Spaemann provides an important contribution to a number of contemporary debates in philosophy and theology, opening up possibilities for conversation between these disciplines. He engages in a dialogue with classical and contemporary positions and often formulates important and original insights which lie beyond common alternatives. In this study Holger Zaborowski provides an analysis of the most important features of Spaemann's philosophy and shows the unity of his thought. The question 'Who is a person?' is of increasing significance: Are all human beings persons? Are there animals that can be considered persons? What does it mean to speak of personal identity and of the dignity of the person? Spaemann provides an answer to these questions: Every human being, he argues, is a person and, therefore, 'has' his nature in freedom. In order to understand the person, Spaemann explains, we have to think about the relation between nature and freedom and avoid the reductive accounts of this relation prevalent in important strands of modern thought. Spaemann develops a challenging critique of modernity, incorporating analysis of modern anti-modernisms and showing that these are also subject to a dialectical development, perpetuating the problematic shortcomings of many features of modern reasoning. If we do not want to abolish ourselves as persons, Spaemann reasons, we need to find a way of understanding ourselves that evades the dialectic of modernity. Thus, he reminds his readers of 'self-evident' knowledge: insights that we have once already known, but tend to forget.