When a government in a democracy acts in our name, are we, as citizens, responsible for those acts? What if the government commits a moral crime? The protestor's slogan--"Not in our name!"--testifies to the need to separate ourselves from the wrongs of our leaders. Yet the idea that individual citizens might bear a special responsibility for political wrongdoing is deeply puzzling for ordinary morality and leading theories of democracy. In Our Name explains how citizens may be morally exposed to the failures of their representatives and state institutions, and how complicity is the professional hazard of democratic citizenship. Confronting the ethical challenges that citizens are faced with in a self-governing democracy, Eric Beerbohm proposes institutional remedies for dealing with them. Beerbohm questions prevailing theories of democracy for failing to account for our dual position as both citizens and subjects. Showing that the obligation to participate in the democratic process is even greater when we risk serving as accomplices to wrongdoing, Beerbohm argues for a distinctive division of labor between citizens and their representatives that charges lawmakers with the responsibility of incorporating their constituents' moral principles into their reasoning about policy. Grappling with the practical issues of democratic decision making, In Our Name engages with political science, law, and psychology to envision mechanisms for citizens seeking to avoid democratic complicity.

Not in Our Name collects and analyzes the most important antiwar speeches in American history. It is a book about the origins and consequences of America’s wars, but also about the integrity and sacrifices of those who fought on the front lines of dissent. By telling the stories of the people who spoke out in good-faith disagreement with their government and fellow citizens, Not in Our Name records some of the most compelling acts of courage in American politics and some of the most passionate, beautiful, and mighty speeches in American history. In Not in Our Name, Jesse Stellato presents the history of American antiwar speeches in a readable way that is neither pacifist nor partisan, featuring speakers with diverse backgrounds and political beliefs. By combining historical research with a review of classical Greek and Roman rhetorical theory, Not in Our Name also helps answer a fundamental question: “What makes a great antiwar speech?”

At that same time and hour, Jesus spoke and said, "Even so it is not the will of your father which is in heaven, that one of these little ones should perish" (Matt. 18:14 KJV). We learned it from Jesus himself that there are secrets in heaven that have been revealed, having our name written in the book of Lamb. And there is only one name under heaven that can truly save us and keep us from perishing. Neither is there salvation in any other: for there is none other name under Heaven given among men whereby we must be saved. (Acts 4:12 KJV) Satan desires to keep you in the dark with his void and deceptive strategies in your life. Christians can be subtly deceived in the inner chambers of their mind. Since it is not an obvious evil, they do not recognize how even the smallest deception influences their behavior in an ungodly direction and how Satan can keep them captive by his will. Neither give place to the devil in your life, where he can keep you in his dark pit (Eph. 4:27 KJV). Draw night to God and he will draw night to us. (James 4:8 KJV) For God who commanded the light to shine out of darkness hath shined in our hearts, to give the light of the knowledge of the glory of God in the face of Jesus Christ. So, then, death works within us but life in Christ.

This book emphasizes the influence of the name given at birth in terms of the construction of subjectivity. It offers the reader a fascinating journey through the meanders of culture, literary quotations, stories heard, and a difficult journey through the pain and horror of certain realities.

This edition of 'Our Name is Melancholy' has been revised, re-edited and expanded to include an all-new Book 3 and 4 as well as additions to the original manuscript. Readers and reviewers hailed the First Edition of this book as: the most fascinating book of the 20th century. It sparked a subtle revolution in the way we deal with death in general, and Death the entity. It brought us up close and personal with the melancholy spectre commonly known as the Grim Reaper. The book's aim is to bring humanity to a greater understanding of His purpose here, and hereafter. Through the Angel of Death's own words and the writings of His incarnate soul mate, this awesome spirit reveals to all His true nature and purpose. A haunting 'autobiography' of the Angel of Death, this revelationary testament is both mighty in sorrow, and joy. Azrael is an eerie herald who has come to enchant the world with a divine danse macabre. For the ultimate tale of Love and Death is, indeed, a True Story.

Feminisms have played a crucial part in art, art history and curatorial practices over the last forty years. Hence, it is by now imperative to scrutinize the history of feminist theories and methods within both fields. Feminisms is Still Our Name is an anthology that critically debates the current status of feminisms in visual art and its relation to past art histories and possible feminist futures. It brings together essays by leading scholars in order to meet the urgent need both for a critical historiography and for re-vitalizations of feminist practices within written as well as visual narratives of modern and contemporary art. From a variety of perspectives, the editors and contributors to this book initiate a much-needed debate about possible strategies for a renewal of feminisms in art history and curating. At the same time, it demonstrates the necessity of further explorations and research into the diversity of feminist pasts. Indeed, this volume provides strong arguments that historiographical critique is an inevitable part of any future feminism(s). In providing fresh approaches to such important fields as feminist art history and feminist curating, the essays assembled in Feminisms is Still Our Name will provoke fruitful discussion about the relation between academic and curatorial feminist practices. Contributors: Renee Baert, Malin Hedlin Hayden, Lolita Jablonskiene, Amelia Jones, Mary Kelly, Griselda Pollock, and Jessica Sjöholm Skrubbe.

From acclaimed author Dinaw Mengestu, a recipient of the National Book Foundation’s 5 Under 35 award, The New Yorker’s 20 Under 40 award, and a 2012 MacArthur Foundation genius grant, comes an unforgettable love story about a searing affair between an American woman and an African man in 1970s America and an unflinching novel about the fragmentation of lives that straddle countries and histories. All Our Names is the story of two young men who come of age during an African revolution, drawn from the safe confines of the university campus into the intensifying clamor of the streets outside. But as the line between idealism and violence becomes increasingly blurred, the friends are driven apart—one into the deepest peril, as the movement gathers inexorable force, and the other into the safety of exile in the American Midwest. There, pretending to be an exchange student, he falls in love with a social worker and settles into small-town life. Yet this idyll is inescapably darkened by the secrets of his past: the acts he committed and the work he left unfinished. Most of all, he is haunted by the beloved friend he left behind, the charismatic leader who first guided him to revolution and then sacrificed everything to ensure his freedom. Elegiac, blazing with insights about the physical and emotional geographies that circumscribe our lives, All Our Names is a marvel of vision and tonal command. Writing within the grand tradition of Naipul, Greene, and Achebe, Mengestu gives us a political novel that is also a transfixing portrait of love and grace, of self-determination and the names we are given and the names we earn. This eBook edition includes a Reading Group Guide.