KISS is the most outrageous and yet the most enduring of rock bands, with an unparalleled, almost religious level of devotion from millions of die-hard fans. In KISS and Philosophy, professional thinkers of diverse outlooks provide much-needed insights into the motivating ideas and metaphysical foundations of the KISS take on life. According to some, the true message of KISS is self-actualization through the hard work of following your dreams. Others focus on the existential aspect of KISS thinking, drawing upon Camus and Sartre to show that KISS is preoccupied with empowering the individual to achieve self-greatness. By contrast, there is a view of KISS which identifies a “destroyer” attitude, leading some listeners to reject KISS outright, while encouraging others to become the most dedicated of followers. Yet another view sees KISS’s “letting loose” as essentially Dionysian. Some chapters gain access to KISS thinking by tracing the band’s cultural and historical impact, finding meaning in the way generations of fans make sense of KISS’s always evolving output, the changing line-up, and the archetypal characters represented by the band’s use of make-up and presentation. Other chapters look at the aesthetic quality of the band’s output, especially their most controversial album, Music from “The Elder.” Several chapters examine KISS’s orientation to bodily pleasures, notably sex, extracting the band’s philosophy of sex and love from different clues and indications. How does KISS’s unashamed indulgence relate to various pleasure-governed ethical systems throughout history? Is getting the most out of pleasure key to living the good life? And does a life of gratifying one’s body ultimately yield fulfillment? What are the limitations and hazards of a pleasure-oriented lifestyle? The biography of band members also provides material for reflection, looking at the nature of forgiveness through the lens of KISS’s notorious feuds, and determining how to reconcile the apparently conflicting accounts of some famous squabbles. The changing line-up of the band raises questions about the meaning of “KISS” and whether KISS could last forever

After decades of marginalization in the secularized twentieth-century academy, moral education has enjoyed a recent resurgence in American higher education, with the establishment of more than 100 ethics centers and programs on campuses across the country. Yet the idea that the university has a civic responsibility to teach its undergraduate students ethics and morality has been met with skepticism, suspicion, and even outright rejection from both inside and outside the academy. In this collection, renowned scholars of philosophy, politics, and religion debate the role of ethics in the university, investigating whether universities should proactively cultivate morality and ethics, what teaching ethics entails, and what moral education should accomplish. The essays quickly open up to broader questions regarding the very purpose of a university education in modern society. Editors Elizabeth Kiss and J. Peter Euben survey the history of ethics in higher education, then engage with provocative recent writings by Stanley Fish in which he argues that universities should not be involved in moral education. Stanley Hauerwas responds, offering a theological perspective on the university’s purpose. Contributors look at the place of politics in moral education; suggest that increasingly diverse, multicultural student bodies are resources for the teaching of ethics; and show how the debate over civic education in public grade-schools provides valuable lessons for higher education. Others reflect on the virtues and character traits that a moral education should foster in students—such as honesty, tolerance, and integrity—and the ways that ethical training formally and informally happens on campuses today, from the classroom to the basketball court. Debating Moral Education is a critical contribution to the ongoing discussion of the role and evolution of ethics education in the modern liberal arts university. Contributors. Lawrence Blum, Romand Coles, J. Peter Euben, Stanley Fish, Michael Allen Gillespie, Ruth W. Grant, Stanley Hauerwas, David A. Hoekema, Elizabeth Kiss, Patchen Markell, Susan Jane McWilliams, Wilson Carey McWilliams, J. Donald Moon, James Bernard Murphy, Noah Pickus, Julie A. Reuben, George Shulman, Elizabeth V. Spelman

Courtland Lewis has scoured the planet to bring together the most talented faction members, factionless, and even a few from the Bureau to discuss the philosophy of Divergent. Divergent and Philosophy begins by examining the personal struggles that all people face at some time: What sort of person should I be? What if I find out my life is a lie? What do I owe my parents? Am I normal? Once readers have finished answering these questions they’re ready for the “choosing ceremony.” Part two examines each faction, looking at its virtues, vices, and other features that will help readers pick the “right” faction. This part gives readers a glimpse into what it’s like to be faced with the most important decision of our lives, the one that will forever determine who we are. Part three takes a step takes a step back, in order to question Chicago's ordering of society. Chicago is on the verge of revolution, but is this the result of the faction system itself, or is it the people within the factions that are behind the social discord? Part four shifts the focus individuals and those who hold power. Part five tells us how to recognize injustice.

In 1747 Paris, Sophie falls in love with married philosopher Denis Diderot, who is collaborating with authors to create an encyclopedia of all human knowledge, a project that threatens to undermine both the monarchy and the church--as well as Sophie?s right to freedom, love, and happiness.

Christianity receives a lot of attention in the media, but the most frequently discussed version represents a type of Christianity that sometimes turns people away from the Church. Kissing Fish presents a postmodern systematic theology of progressive Christianity, a growing movement that reclaims the radical message of the Gospel. This informative, contemplative, and entertaining book will guide you through the beliefs that inspire us to love one another in the transformative way that Jesus proclaimed, including practices that will take your faith to a new level. Kissing Fish is a scholarly yet thoroughly accessible introduction to progressive Christianity. While the intended target audience for this work would seem to be those who have either left the Christian faith or never adopted it at all; the work is filled with pearls of wisdom for all of us, whether associated with Christianity or not. Kissing Fish is a truly remarkable work, serving both as a reminder of the beauty and grace that form the central tenets of the faith, while offering a graceful yet prophetic rebuttal to its more exclusionary tendencies. Kissing Fish is part theological text and part tell-all personal spiritual journey. Imagine a down-to-earth combination of the works of Marcus Borg, Anne Lamott, Jim Wallis, Rob Bell, Shane Claiborne, Diana Butler-Bass, Brian McLaren, Walter Wink, Wes Howard-Brook, and Donald Miller. A profound romp that informs and inspires.

This is a true-crime story of the murder of an art form: punk rock. Gina Arnold has been witness to this gradual annihilation, and she's not shy about pointing out the perpetrators: Tipper Gore, Rolling Stone, Geffen Records, Miller beer, and even the progenitors of punk themselves, the Sex Pistols, are all implicated in the demise of independent music. In Route 666: On the Road to Nirvana, Gina Arnold gave us a road map to the defiant fury that shaped punk's harsh, musical bloodletting. But now Kurt Cobain is dead. And Courtney Love is playing shows sponsored by beer companies, MasterCard is financing the Monsters of Rock tour, and the Red Hot Chili Peppers are sporting free Airwalk sneakers. Arnold knows something has gone terribly wrong. Bad Religion, Metallica, Rancid, Rage Against the Machine, Soundgarden, Smashing Pumpkins, Green Day, Pearl Jam, the Fastbacks, Beastie Boys, Nine Inch Nails--find out who sold out, who stayed real, and what independent music must do now to regain its lost edge. In 1978 Sid Vicious mocked a Sinatra classic with his version of "My Way." Well, it's 1997, and punk has lost its way. In Kiss This Gina Arnold just may show it the way home.

Philosophers look at the deeper issues raised by the adventures of Doctor Who, the main character in the long-running science fiction TV series of the same name.