"The Nuclear Weapons World: Who, How, and Where" is a unique guide to nuclear weapons decisionmaking and decisionmakers in the five official nuclear weapons states and the two nuclear alliances. No other book describes in such detail the complex structures in which decisions to produce and deploy nuclear weapons are made, and lists alphabetically with full biographies the names of the 750 people who make decisions about nuclear weapons production and deployment. Case studies on nuclear weapons procurement and deployment decisions make this book informative and necessary reading for both specialists in the field and generalists seeking up-to-date information on this important subject.

"The Nuclear Weapons World: Who, How, and Where" is a unique guide to nuclear weapons decisionmaking and decisionmakers in the five official nuclear weapons states and two nuclear alliances: the USA, the Soviet Union, Britain, France, China, NATO, and the Warsaw Pact. No other book describes in detail the complex structures in which decisions to produce and deploy nuclear weapons are made and also provides the names of the key decisionmakers. Divided into seven chapters, one for each of the official nuclear weapons states and the nuclear alliances, The Nuclear Weapons World also lists alphabetically with full biographies the names of the 750 people--scientists, armed forces members, top industrialists, permanent government officials, and politicians--who make the decisions about nuclear weapons production and deployment. Addresses and, where available, telephone numbers for entries are presented along with a full description of the decisionmaking structures: councils, committees, departments and institutes; organizational charts; descriptions of structures and biographies cross-referenced; complete name and subject indices; and a full glossary.

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.

In The Concept of Justice, Patrick Burke explores and argues for a return to traditional ideas of ordinary justice in opposition to conceptions of "social justice" that came to dominate political thought in the 20th Century. Arguing that our notions of justice have been made incoherent by the radical incompatibility between instinctive notions of ordinary justice and theoretical conceptions of social justice, the book goes on to explore the historical roots of these ideas of social justice. Finding the roots of these ideas in religious circles in Italy and England in the 19th century, Burke explores the ongoing religious influence in the development of the concept in the works of Marx, Mill and Hobhouse. In opposition to this legacy of liberal thought, the book presents a new theory of ordinary justice drawing on the thought of Immanuel Kant. In this light, Burke finds that all genuine ethical evaluation must presuppose free will and individual responsibility and that all true injustice is fundamentally coercive.

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.

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.

A new novel by the Bram Stoker Award-winning author of THE TURTLE BOY.
On a scorching hot summer day in Elkwood, Alabama, Claire Lambert staggers naked, wounded, and half-blind away from the scene of an atrocity. She is the sole survivor of a nightmare that claimed her friends, and even as she prays for rescue, the killers -- a family of cannibalistic lunatics -- are closing in.
A soldier suffering from post-traumatic stress disorder returns from Iraq to the news that his brother is among the murdered in Elkwood.
In snowbound Detroit, a waitress trapped in an abusive relationship gets an unexpected visit that will lead to bloodshed and send her back on the road to a past she has spent years trying to outrun.
And Claire, the only survivor of the Elkwood Massacre, haunted by her dead friends, dreams of vengeance... a dream which will be realized as grief and rage turn good people into cold-blooded murderers and force alliances among strangers.
It's time to return to Elkwood.
In the spirit of such iconic horror classics as The Texas Chainsaw Massacre and Deliverance, Kin begins at the end and studies the possible aftermath for the survivors of such traumas upon their return to the real world -- the guilt, the grief, the thirst for revenge -- and sets them on an unthinkable journey... back into the heart of darkness.

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 whopping 14 brand new twisted tales of terror, tricks, and treats. In volume 8 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, Amanda Deibert, Cat Staggs, Alec Worley, Tom Foster, Neo Edmund, Jason Felix, Sean Sobczak, Sara Richard, Kealan Patrick Burke, David J. Schow, Andres Esparza, Frank Tieri, Duane Swierczynski, Heather Vaughan, Jennie Wood, Michael Moreci, Scott Hampton, Tim Bradstreet, Nick Percival and many more.

Philosopher Blaise Pascal famously insisted that it was better to wager belief in God than to risk eternal damnation. More recently, Richard Kearney has offered a wager of his own-the anatheistic wager, or return to God after the death of God. In this volume, an international group of contributors consider what Kearney's spiritual wager means. They question what is at stake with such a wager and what anatheism demands of the self and of others. The essays explore the dynamics of religious anatheistic performativity, its demarcations and limits, and its motives. A recent interview with Kearney focuses on crucial questions about philosophy, theology, and religious commitment. As a whole, this volume interprets and challenges Kearney's philosophy of religion and its radical impact on contemporary views of God.

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

Sixteen-year-old Kate Mansfield and her blind brother Neil live in a manor on the edge of the Brent Prior moors. It is a dreary place populated by the dispirited and the disillusioned, where the young nurture desperate dreams of escape. And Kate is no different. But her plans to run away to the city are crushed one very ordinary morning when the quiet in Brent Prior is shattered by an inexplicable act of violence.
In the wake of the tragedy, Kate's beloved father is stricken by a strange illness, and she and her brother fall under the care of the manor's caretaker and maid.
Then, as if attuned to the melancholy that has stricken Mansfield House, a fog rolls in. Villagers begin to vanish. Lithe fleeting shadows are glimpsed in the mist, and a disfigured man arrives in Brent Prior.
A man who has come back to settle an old score.
A man who calls himself the Master of the Moors.

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.