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.

An original study of exile, told through the biography of Austrian writer Stefan Zweig By the 1930s, Stefan Zweig had become the most widely translated living author in the world. His novels, short stories, and biographies were so compelling that they became instant best sellers. Zweig was also an intellectual and a lover of all the arts, high and low. Yet after Hitler’s rise to power, this celebrated writer who had dedicated so much energy to promoting international humanism plummeted, in a matter of a few years, into an increasingly isolated exile—from London to Bath to New York City, then Ossining, Rio, and finally Petrópolis—where, in 1942, in a cramped bungalow, he killed himself. The Impossible Exile tells the tragic story of Zweig’s extraordinary rise and fall while it also depicts, with great acumen, the gulf between the world of ideas in Europe and in America, and the consuming struggle of those forced to forsake one for the other. It also reveals how Zweig embodied, through his work, thoughts, and behavior, the end of an era—the implosion of Europe as an ideal of Western civilization.

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.

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.