This is the first attempt, since the work of A.P.I. Samuels in 1923, at examining the early career of Edmund Burke without assuming that he was born to become the arch-conservative who condemned the French Revolution. Instead of being in revolt against the Enlightenment, the young Burke was a man intent on illustrating himself and his age by promoting rational knowledge and widening the field of reason. His turn to politics is, therefore, seen as turning away from truth; the compromise changed the direction of his thinking. An escapist solution to some of Burke's problems could not make him forget Ireland, his native country. The fact that Ireland is the first country to have been colonized by England makes it an interesting laboratory of colonial misrule. The study of how it fashioned such a man torn between Ireland and England raises and sheds light on problems that go very much beyond the fate of Burke as an individual. It is a demonstration of the different means used by colonial powers to maintain their conquered empire and contain dissidence and rebellion. Making people believe, for instance, that the order of things is as it should be because that is what it is, does not tax the imagination, but it works and is still being used the world over. In this opinion campaign, Protestant England enjoyed the unfailing support of the Catholic hierarchy in Ireland and a 'realistic' understanding on the part of Catholic Europe. It is an example of the private and public tragedies caused by the divided loyalties that colonialism generated. The painfully experienced situation of a 'cultural mulatto' is the inevitable result of a state of domination. If it seems complex, it is because it is not purely negative: the dominated may in turn dominate the dominator. The effects are still with us of the passionate oscillations and reversals of opinion that Burke called his 'principles'. Finally it illustrates the fundamental error of those who, even for a moment, lose sight of the truth perceived by Victor Hugo that 'the first phase of the possible is to be impossible'. As a cultural mulatto, Burke led an impossible life, but who can fail to see that what was then an 'impossibility' is, in the present situation of Ireland and of the world, not only possible but eminently desirable? If only because this is just the beginning.

On Stage is a breathtaking pictorial volume, that has resulted in photographs that convey the passion, ambience and energy of the performances and allow the viewer to take part in the unique atmosphere of the live concert. With photos of: the Rolling Stones, Alice Cooper, Monarchy, Public Enemy, Little Dragon, St. Vincent and many others. Michael Fuchs-Gambock is one of the most successful reference book authors in Germany. He has published books about Rammstein, Genesis, Shakira. Until 1994 he was editor and head of department at the contemporary magazine Wiener. Since then he has been a freelance author, including for Playboy, Cosmopolitan, Focus, Musikexpress, Marie Claire etc.

Marktbedingungen und technologische Entwicklungen machen bei mehrstufiger Linienfertigung eine detaillierte Planung und Steuerung der Produktionsprozesse erforderlich, die eine rechtzeitige Erkennung und planerische Bewaltigung von Kapazitats- und Materialengpassen voraussetzt. Konventionelle Planungsverfahren erfullen diese Anforderungen nicht. Deshalb wurde ein Verfahren zur engpassorientierten Planung und Steuerung der Ressourcen bei mittelfristiger simultaner Mengen- und Terminplanung entwickelt. Der Verfahrensablauf enthalt dazu spezielle Aktionsparameter, die eine bestandsbezogene planerische Engpassbewaltigung ermoglichen. Dieses Planungsverfahren mit integrierter Engpasserkennung und -bewaltigung ist bereichsubergreifend sowohl in der Montage als auch in der Teilfertigung einsetzbar. Es hat seine Praxistauglichkeit in einem Produktionsbereich eines Unternehmens des Fahrzeugbaus bewiesen.

In his poetry, Michael Fuchs, puts in rhythmic language his vision of the world and the cosmos forward. Often embedded in autobiographic observations, political, economical and sociological themes are treated with the passionate mind and heart of the artist. As in his paintings Michael Fuchs remains true to the classical forms of the medium, beauty for him is always the bearer of all tidings his poetry conveys.

Keniff and Keiff are sent down from Heaven to give any help they can to a suffering little girl. The little girl shows the angels what friendship and sacrifice are all about.

The Simpson family has been a frequent visitor to millions of households around the globe for two decades and the TV show centering on the yellow family is arguably the most successful TV series of all time. But THE SIMPSONS is not only economically successful, it is also intelligent. Recent publications have investigated the show's philosophical and psychological implications and have thereby proven that the show is more than an 'ordinary' animated cartoon. The show has perfected the postmodernist aesthetic, an aesthetic that is characterized by meta-referentiality and intertextuality. The incessant references to TV shows and movies past and present may lead some academics to claim that THE SIMPSONS is the kind of fiction that only springs from and leads to fiction, but John Barth already noted some twenty years ago that "all fiction about fiction is in fact fiction about life." Following this line of thought, THE SIMPSONS has to say a lot about the society that makes the show successful. The book at hand discusses the TV show THE SIMPSONS from two related perspectives: its relation to postmodernism and its relation to the postmodern American society.

Fiction and the Sixth Mass Extinction is one of the first works to focus specifically on fiction's engagements with human driven extinction. Drawing together a diverse group of scholars and approaches, this volume pairs established voices in the field with emerging scholars and traditionally recognized cli-fi with texts and media typically not associated with Anthropocene fictions. The result is a volume that both engages with and furthers existing work on Anthropocene fiction as well as laying groundwork for the budding subfield of extinction fiction. This volume takes up the collective insistence on the centrality of story to extinction studies. In various and disparate ways, each chapter engages with the stories we tell about extinction, about the extinction of animal and plant life, and about the extinction of human life itself. Answering the call to action of extinction studies, these chapters explore what kinds of humanity caused this event and what kinds may live through it; what cultural assumptions and values led to this event and which ones could lead out of it; what relationships between human life and this planet allowed the sixth mass extinction and what alternative relationships could be possible.

In "Call Me Ishmael," Charles Olson exclaimed "SPACE to be the central fact to man born in America." Indeed, from the start, history and identity in America have been intricately tied to issues of space: from the idea of the "city upon a hill" to the transnational (soft) power of the United States, space has always served as an important parameter of power gained or lost and of the struggles to maintain or resist it. With contributions that range from the construction of America in (European) academic discourses to children's fiction, this collection provides an extensive and insightful study of how space influences our understanding of America.

Dark Forces at Work examines the role of race, class, gender, religion, and the economy as they are portrayed in, and help construct, horror narratives across a range of films and eras. These larger social forces not only create the context for our cinematic horrors, but serve as connective tissue between fantasy and lived reality, as well. While several of the essays focus on “name” horror films such as IT, Get Out, Hellraiser, and Don’t Breathe, the collection also features essays focused on horror films produced in Asia, Europe, and Latin America, and on American classic thrillers such as Alfred Hitchcock’s Psycho. Key social issues addressed include the war on terror, poverty, the housing crisis, and the Time’s Up movement. The volume grounds its analysis in the films, rather than theory, in order to explore the ways in which institutions, identities, and ideologies work within the horror genre.

With the 21st century audience in mind, the scholarship in this book focuses on how Johann Sebastian Bach used his compositional creativity to interpret the message of the Johannine passion narrative from a Lutheran perspective. The book begins by introducing St. John Passion in terms of its ongoing importance and relevance by providing a brief historical context as well as exploring its enduring legacy. It provides an update on important points of biblical and theological scholarship for the libretto itself. The book then focuses on the performance history of the work, featuring fresh translations of the libretto along with musical and theological commentary for each of the forty movements and highlighting Bach’s compositional creativity. The book also deals with important questions regarding the Gospel of John, Martin Luther’s theology, and questions about anti-Judaism and antisemitism in the libretto.

Metropolis, Gotham City, Mega-City One, Panem's Capitol, the Sprawl, Caprica City-American (and Americanized) urban environments have always been a part of the fantastic imagination. Fantastic Cities: American Urban Spaces in Science Fiction, Fantasy, and Horror focuses on the American city as a fantastic geography constrained neither by media nor rigid genre boundaries. Fantastic Cities builds on a mix of theoretical and methodological tools that are drawn from criticism of the fantastic, media studies, cultural studies, American studies, and urban studies. Contributors explore cultural media across many platforms such as Christopher Nolan's Dark Knight Trilogy, the Arkham Asylum video games, the 1935 movie serial The Phantom Empire, Kim Stanley Robinson's fiction, Colson Whitehead's novel Zone One, the vampire films Only Lovers Left Alive and A Girl Walks Home Alone at Night, Paolo Bacigalupi's novel The Water Knife, some of Kenny Scharf's videos, and Samuel Delany's classic Dhalgren. Together, the contributions in Fantastic Cities demonstrate that the fantastic is able to "real-ize" that which is normally confined to the abstract, metaphorical, and/or subjective. Consequently, both utopian aspirations for and dystopian anxieties about the American city become literalized in the fantastic city. Contributions by Carl Abbott, Jacob Babb, Marleen S. Barr, Michael Fuchs, John Glover, Stephen Joyce, Sarah Lahm, James McAdams, Cynthia J. Miller, Fernando Gabriel Pagnoni Berns, Chris Pak, Maria Isabel Perez Ramos, Stefan Rabitsch, J. Jesse Ramirez, A. Bowdoin Van Riper, Andrew Wasserman, Jeffrey Andrew Weinstock, and Robert Yeates.

Metropolis, Gotham City, Mega-City One, Panem's Capitol, the Sprawl, Caprica City-American (and Americanized) urban environments have always been a part of the fantastic imagination. Fantastic Cities: American Urban Spaces in Science Fiction, Fantasy, and Horror focuses on the American city as a fantastic geography constrained neither by media nor rigid genre boundaries. Fantastic Cities builds on a mix of theoretical and methodological tools that are drawn from criticism of the fantastic, media studies, cultural studies, American studies, and urban studies. Contributors explore cultural media across many platforms such as Christopher Nolan's Dark Knight Trilogy, the Arkham Asylum video games, the 1935 movie serial The Phantom Empire, Kim Stanley Robinson's fiction, Colson Whitehead's novel Zone One, the vampire films Only Lovers Left Alive and A Girl Walks Home Alone at Night, Paolo Bacigalupi's novel The Water Knife, some of Kenny Scharf's videos, and Samuel Delany's classic Dhalgren. Together, the contributions in Fantastic Cities demonstrate that the fantastic is able to "real-ize" that which is normally confined to the abstract, metaphorical, and/or subjective. Consequently, both utopian aspirations for and dystopian anxieties about the American city become literalized in the fantastic city. Contributions by Carl Abbott, Jacob Babb, Marleen S. Barr, Michael Fuchs, John Glover, Stephen Joyce, Sarah Lahm, James McAdams, Cynthia J. Miller, Fernando Gabriel Pagnoni Berns, Chris Pak, Maria Isabel Perez Ramos, Stefan Rabitsch, J. Jesse Ramirez, A. Bowdoin Van Riper, Andrew Wasserman, Jeffrey Andrew Weinstock, and Robert Yeates.

Fiction and the Sixth Mass Extinction is one of the first works to focus specifically on fiction's engagements with human driven extinction. Drawing together a diverse group of scholars and approaches, this volume pairs established voices in the field with emerging scholars and traditionally recognized climate fiction ('cli-fi') with texts and media typically not associated with Anthropocene fictions. The result is a volume that both engages with and furthers existing work on Anthropocene fiction as well as laying groundwork for the budding subfield of extinction fiction. This volume takes up the collective insistence on the centrality of story to extinction studies. In various and disparate ways, each chapter engages with the stories we tell about extinction, about the extinction of animal and plant life, and about the extinction of human life itself. Answering the call to action of extinction studies, these chapters explore what kinds of humanity caused this event and what kinds may live through it; what cultural assumptions and values led to this event and which ones could lead out of it; what relationships between human life and this planet allowed the sixth mass extinction and what alternative relationships could be possible.

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com While all media are part of intermedial networks, video games are often at the nexus of that network. They not only employ cinematics, embedded books, and in-world television screens for various purposes, but, in our convergence culture, video games also play a vital role in allowing players to explore transmedia storyworlds. At the same time, video games are frequently thematized and remediated in film, television, and literature. Indeed, the central role video games assume in intermedial networks provides testament to their significance in the contemporary media environment. In this volume, an international group of contributors discuss not only intermedial phenomena in video games, but also the intermedial networks surrounding them. Intermedia Games-Games Inter Media will deepen readers' understanding of the convergence culture of the early twenty-first century and video games' role in it.

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com While all media are part of intermedial networks, video games are often at the nexus of that network. They not only employ cinematics, embedded books, and in-world television screens for various purposes, but, in our convergence culture, video games also play a vital role in allowing players to explore transmedia storyworlds. At the same time, video games are frequently thematized and remediated in film, television, and literature. Indeed, the central role video games assume in intermedial networks provides testament to their significance in the contemporary media environment. In this volume, an international group of contributors discuss not only intermedial phenomena in video games, but also the intermedial networks surrounding them. Intermedia Games-Games Inter Media will deepen readers' understanding of the convergence culture of the early twenty-first century and video games' role in it.