This erudite volume examines the moral universe of the hit Netflix show Black Mirror. It brings together scholars in media studies, cultural studies, anthropology, literature, philosophy, psychology, theatre and game studies to analyse the significance and reverberations of Charlie Brooker's dystopian universe with our present-day technologically mediated life world. Brooker's ground-breaking Black Mirror anthology generates often disturbing and sometimes amusing future imaginaries of the dark side of ubiquitous screen life, as it unleashes the power of the uncanny. This book takes the psychoanalytic idea of the uncanny into a moral framework befitting Black Mirror's dystopian visions. The volume suggests that the Black Mirror anthology doesn't just make the viewer feel, on the surface, a strange recognition of closeness to some of its dystopian scenarios, but also makes us realise how very fragile, wavering, fractured, and uncertain is the human moral compass.

The work of the remarkable sisters Agnes Smith Lewis and Margaret Dunlop Gibson, this lectionary of what is now known as Christian Palestinian Aramaic, was re-edited in the light of two manuscripts from the Sinai, which they recovered, and from Paul de Lagarde's Evangeliarium Hierosolymitanum. An important document for the textual criticism of the New Testament as well as for the early practice of the church, Lewis and Dunlap added to its value by composing this light "critical edition." Presented in Syriac with English annotations to the Greek text of the Gospels, this useful study will be welcome by New Testament scholars and Syriac scholars alike.

This book takes readers into stories of love, loss, grief and mourning and reveals the emotional attachments and digital kinships of the virtual 3D social world of Second Life. At fourteen years old, Second Life can no longer be perceived as the young, cutting-edge environment it once was, and yet it endures as a place of belonging, fun, role-play and social experimentation. In this volume, the authors argue that far from facing an impending death, Second Life has undergone a transition to maturity and holds a new type of significance. As people increasingly explore and co-create a sense of self and ways of belonging through avatars and computer screens, the question of where and how people live and die becomes increasingly more important to understand. This book shows how a virtual world can change lives and create forms of memory, nostalgia and mourning for both real and avatar based lives.

Edited with a facing-page English translation from the Latin text by: Clover, Helen; Unknown function: Gibson, Margaret

This book takes readers into stories of love, loss, grief and mourning and reveals the emotional attachments and digital kinships of the virtual 3D social world of Second Life. At fourteen years old, Second Life can no longer be perceived as the young, cutting-edge environment it once was, and yet it endures as a place of belonging, fun, role-play and social experimentation. In this volume, the authors argue that far from facing an impending death, Second Life has undergone a transition to maturity and holds a new type of significance. As people increasingly explore and co-create a sense of self and ways of belonging through avatars and computer screens, the question of where and how people live and die becomes increasingly more important to understand. This book shows how a virtual world can change lives and create forms of memory, nostalgia and mourning for both real and avatar based lives.

This erudite volume examines the moral universe of the hit Netflix show Black Mirror. It brings together scholars in media studies, cultural studies, anthropology, literature, philosophy, psychology, theatre and game studies to analyse the significance and reverberations of Charlie Brooker's dystopian universe with our present-day technologically mediated life world. Brooker's ground-breaking Black Mirror anthology generates often disturbing and sometimes amusing future imaginaries of the dark side of ubiquitous screen life, as it unleashes the power of the uncanny. This book takes the psychoanalytic idea of the uncanny into a moral framework befitting Black Mirror's dystopian visions. The volume suggests that the Black Mirror anthology doesn't just make the viewer feel, on the surface, a strange recognition of closeness to some of its dystopian scenarios, but also makes us realise how very fragile, wavering, fractured, and uncertain is the human moral compass.

Tina Modotti, known to a few as the beautiful Italian actress in Erich von Stroheim's silent film Greed, was also a dedicated political activist and photographer whose best work has a powerful dignity and integrity. She lived with Edward Weston in post-revolutionary Mexico in the 1920s. During the Spanish Civil war in the 1930s she was a nurse in Madrid and on various fronts. In Spain she knew Antonio Machado and Pablo Neruda, who wrote a poem about her after her death in Mexico in 1942. Margaret Gibson's Memories of the Future is based on Modotti's vivid but enigmatic life. Drawn from daybooks that Gibson imagines Modotti to have kept at the end of her life in Mexico City, these poems give us the reflections of a woman whose intensity and vision, evident in her own photographs, are matched by the depth and breadth of her experience and personal transformation in times of deep social and political upheaval. If we could look into the future, would we go there? In the spiral of hunger's discontent, would we go? Somehow we go. New societies are born much wider than our minds. And if for a moment we doubt, our bodies remember. They believe. We make our bodies available to death, and therefore live. It is the hero's way, every woman knows it. In their attention to beauty and sensuality, light and detail, these poems capture the life of the photographer. In their unhesitating confrontation with pain and loss, they reveal the harsh realities of revolutionary life. Memories of the Future skillfully unfolds the political and artistic consciousness of a woman of sensibility and strong beliefs. It is a major new effort from one of America's best young poets.

With The Glass Globe, celebrated poet Margaret Gibson completes a trilogy distinguished by its meditative focus on the author's experience of her late husband's Alzheimer's disease. In this new collection, she blends elegies of personal bereavement with elegies for the earth during the ongoing global crisis wrought by climate change. Gibson's poems personalize the vastness of climate catastrophe while simultaneously enlarging personal grief beyond the limits of self-absorption. A work of great compassion and vision, The Glass Globe is a necessary, heartbreaking book from one of our most compelling poets.

I look about and find whatever I see / unfinished,"" Margaret Gibson writes in these powerful and moving poems, which investigate a late-life genesis. Not Hearing the Wood Thrush grapples with the existential questions that come after experiencing a great personal loss. A number of poems meditate on loneliness and fear; others speak to ""No one""- a name richer than prayer or vow."" In this transformative new collection, Gibson moves inward, taking surprising, mercurial turns of the imagination, guided by an original and probative intelligence. With a clear eye and an open heart, Gibson writes, ""How stark it is to be alive""- and also how glorious, how curious, how intimate.

Broken Cup brings breathtaking eloquence to what Margaret Gibson describes as ""traveling the Way of Alzheimer's"" with her husband, poet David McKain. After his initial and tentative diagnosis, Gibson suspended her writing for two years; but then poetry returned, and the creative process became the lightning rod that grounded her and presented a path forward. The poems in Broken Cup bear witness to how Alzheimer's erodes memory and cognitive function, but they never forget to see what is present and to ask what may remain of the self. Moving and unflinchingly honest in the acknowledgment of pain, frustration, and grief, the poems uncover, time and time again, the grace of abiding love. Gibson gives heart as well as voice to an experience that is deeply personal, yet shared by all too many.

This catalogue is a brief report of Arabic and Syriac manuscripts found at Saint Catherine's Monastery, compiled by Margaret Dunlop Gibson and her sister.

Reflecting on poignant and universal experience, this nostalgic book examines the death of a loved one and the often uneasy process of living with and discarding the possessions that are left behind--a daughter's hairbrush, a father's favorite chair, or a husband's clothes. Beautifully written and extensively researched, this guide chronicles the issues surrounding inheritance and the power of objects to bind and unbind families. Written from a sociologist's perspective, this wide-ranging examination of grief is supplemented by firsthand accounts from Australians of various ages and backgrounds. Through personal stories, literature, film, and memoir, the discussion analyzes the difficulties, regrets, and disagreements triggered by the deceased's belongings.

One Body is Margaret Gibson's most intimate collection of poems to date. Written as if to honor the injunction ""Work to simplify the heart,"" the poems are direct, empathetic, and tender in their study of life and death. The thirteen poems of the opening sequence, as well as other poems throughout, look steadily at life and death until they are transparently ""one body."" ""Closer to death,"" she writes, ""I want great faith and great doubt."" Whether the focus is personal or social, Gibson has written the poems in this stunning collection ""because I want to see / how the body goes still / how the mind, how the lens of the eye / magnifies to an emptiness / so deep, so flared wide / there is everywhere field and the Source / of field."" One Body is the work of a richly contemplative poet.

The variety of Arabic versions of the New Testament is bewildering. In this work, Gibson provides one particular text of the Acts of the Apostles, as well as those of the Minor Catholic Epistles, based on an eighth or ninth century manuscript, preserved at the Convent of St. Catharine in Sinai. The volume also includes a treatise on the Triune nature of God, with an English translation.

Margaret Gibson is a writer who extends the scope of poetry beyond its accustomed boundaries. Her previous work has ranged from lyric celebrations of natural world to poems that speak out against political injustice and violence. She can turn from a creative reimagining of the life of the photographer and revolutionary Tina Modotti in Mexico to write sensuous meditations influenced by Buddhist and Christian thought. In her newest book, The Vigil, Gibson adroitly interweaves the voices of four women, mothers and daughters of three generations, who, during the course of a single day, reveal the depths of the legacy of alcoholism in their family. ""There's nothing wrong here: don't tell anyone"", that has been the guiding principle of these women's lives, enmeshed in patterns of silence and denial, secrecy and lies. But on this one day of startling revelations, the full extent of the family's secrets, kept still in the sweep of years, begins to emerge. As the history of loss and regret unfolds, the women begin to sense those have passed down from mother to daughter. In the end, we see the four women poised, however precariously, on the thresholds of trust, candor, forgiveness, and love. In The Vigil, the lyric and meditative qualities that readers have long since come to expect from the work of Margaret Gibson combine with an unexpected dramatic and narrative unity. The result is a work that is daring and accomplished, a remarkable tour de force of imagination and technical skill, a ringing affirmation of Philip Booth's earlier assessment that Gibson is ""a poet profoundly empowered.