Toward the end of his life, Maurice Merleau-Ponty made a striking retrieval of F. W. J. Schelling s philosophy of nature. "The Barbarian Principle" explores the relationship between these two thinkers on this topic, opening up a dialogue with contemporary philosophical and ecological significance that will be of special interest to philosophers working in phenomenology and German idealism."

Ours would appear to be an era of unprecedented variation in the mediation of meaning - television, computer, the older forms of radio and print. Since, however, such profusion of resources has not of itself guaranteed enhanced profundity or sophistication in our modes of understanding - psychological, sociological, philosophical, historical, and theological - the issue of the continued relevance of cultural forms, dependent both on the human voice and on ritualization, presents itself for consideration. How may modern people most tellingly relate to such overwhelmingly verbal processes as teaching, be it an erudite lecture or a classroom lesson with infants? Is singing, in the words of Tom Murphy, 'the only way to tell people who you are'? What, in particular, is the contemporary usefulness for the building of societies of one of our oldest and culturally valued rituals, that of drama? The Fourth Seamus Heaney Lectures, 'Mirror up to Nature': Drama and Theatre in the Modern World, given at St Patrick's College, Drumcondra, between October 2006 and April 2007, addressed these and related questions. The gifted play director, Patrick Mason, spoke with exceptional insight on the essence of theatre. Thomas Kilroy, distinguished playwright and critic, dealt with the topic of Ireland's contribution to the art of theatre. Two world authorities, Cecily O'Neill and Jonothan Neelands, gave inspiring accounts of the rich potential of drama in the classroom. Brenna Katz Clarke, Head of English at St Patrick's College, offered a delightful examination of the relationship between drama and film. Finally, John Buckley, internationally acclaimed composer, spoke on opera and its history, while giving an illuminating account of his own Words Upon The Window-Pane.

From the mind of John Carpenter, the man who brought you the classic horror film Halloween and all of the scares beyond, and the heart of writer, editor, and producer Sandy King, comes a dozen brand new twisted tales of terror, tricks, and treats. In volume 9 of the award-winning graphic novel series, Carpenter and King bring together the best storytellers from movies, novels, and comics for another spine-tingling collection of stories that will haunt you. Each story is a standalone surprise that captures the essence of the best night of the year. We dare you to read it all the way to the end. If you get too scared, remember, it's only a comic. It's only a comic... or is it? Happy Halloween! With creators John Carpenter, Sandy King, Jaime Carrillo, Elena Carrillo, Luis Guaragna, Sian Mandrake, Alec Worley, Kealan Patrick Burke, Sean Sobczak, Conor Boyle, Neo Edmund, Amanda Deibert, Cat Staggs, David J. Schow, Mike Sizemore, Dave Kennedy, Pete Kennedy, Jason Felix, Jennie Wood, Richard P. Clark, Duane Swierczynski, Nick Percival, and Tim Bradstreet.

Probably no theologian has exercised so profound an influence on Catholic theology during the last half century as Karl Rahner. Patrick Burke examines the structure of dialectical analogy as it appears in each of the major themes of Rahner's theology-as an indispensable key to the correct interpretation of his thought. He also exposes a tension within the system that needs to be addressed if the complex balance of Rahner's vision is to be fully understood

From the earliest days of rock and roll, white artists regularly achieved fame, wealth, and success that eluded the Black artists whose work had preceded and inspired them. This dynamic continued into the 1960s, even as the music and its fans grew to be more engaged with political issues regarding race. In Tear Down the Walls, Patrick Burke tells the story of white American and British rock musicians' engagement with Black Power politics and African American music during the volatile years of 1968 and 1969. The book sheds new light on a significant but overlooked facet of 1960s rock-white musicians and audiences casting themselves as political revolutionaries by enacting a romanticized vision of African American identity. These artists' attempts to cast themselves as revolutionary were often naive, misguided, or arrogant, but they could also reflect genuine interest in African American music and culture and sincere investment in anti-racist politics. White musicians such as those in popular rock groups Jefferson Airplane, the Rolling Stones, and the MC5, fascinated with Black performance and rhetoric, simultaneously perpetuated a long history of racial appropriation and misrepresentation and made thoughtful, self-aware attempts to respectfully present African American music in forms that white leftists found politically relevant. In Tear Down the Walls Patrick Burke neither condemns white rock musicians as inauthentic nor elevates them as revolutionary. The result is a fresh look at 1960s rock that provides new insight into how popular music both reflects and informs our ideas about race and how white musicians and activists can engage meaningfully with Black political movements.

Probably no theologian has exercised so profound an influence on Catholic theology during the last half century as Karl Rahner. Patrick Burke examines the structure of dialectical analogy as it appears in each of the major themes of Rahner's theology-as an indispensable key to the correct interpretation of his thought. He also exposes a tension within the system that needs to be addressed if the complex balance of Rahner's vision is to be fully understood

Enter a world in which a man can make birds fall from the sky and the future can be found in the pages of a comic book...a world in which a thief can pick the worst possible target and find himself stalked by his bounty...a dark place where the written word can be used, quite literally, to draw blood...and the Pied Piper can step out of fairytale to bring horror to a small town. Enter the world of RAVENOUS GHOSTS. Herein you'll find nineteen tales of mystery, madness, and monsters by Bram Stoker Award-winning author Kealan Patrick Burke. With an introduction by Jack Cady and a new afterword by the author.

From the earliest days of rock and roll, white artists regularly achieved fame, wealth, and success that eluded the Black artists whose work had preceded and inspired them. This dynamic continued into the 1960s, even as the music and its fans grew to be more engaged with political issues regarding race. In Tear Down the Walls, Patrick Burke tells the story of white American and British rock musicians' engagement with Black Power politics and African American music during the volatile years of 1968 and 1969. The book sheds new light on a significant but overlooked facet of 1960s rock-white musicians and audiences casting themselves as political revolutionaries by enacting a romanticized vision of African American identity. These artists' attempts to cast themselves as revolutionary were often naive, misguided, or arrogant, but they could also reflect genuine interest in African American music and culture and sincere investment in anti-racist politics. White musicians such as those in popular rock groups Jefferson Airplane, the Rolling Stones, and the MC5, fascinated with Black performance and rhetoric, simultaneously perpetuated a long history of racial appropriation and misrepresentation and made thoughtful, self-aware attempts to respectfully present African American music in forms that white leftists found politically relevant. In Tear Down the Walls Patrick Burke neither condemns white rock musicians as inauthentic nor elevates them as revolutionary. The result is a fresh look at 1960s rock that provides new insight into how popular music both reflects and informs our ideas about race and how white musicians and activists can engage meaningfully with Black political movements.