Voices Of Many Worlds

This collection covers a wide expanse of topics from metaphysical issues about the nature of existence, to suffering, right action, aesthetic experience and how we live our everyday lives. Intellectual honesty, even skepticism, are important parts of the volume. The poet acknowledges that there are ultimate questions, but denies that there are final answers that could be given by any final authority. We see (Rayn's) keen eye for the beauty of nature and change within nature, and we can watch his keen nose at work, close to nature, sniffing out the joys and suffering of everyday living. - Paul Dolinsky, PhD, from the Preface

The Global IR research programme promulgates a borderless ecology of cultures that has only an inside without an outside. This borderless ecology of cultures reinvents the human condition (including the condition of ‘the international’) as perpetually interconnected at the level of consciousness. While Western-centric IR theories depend on (neo-)Kantian philosophies to emphasize the time-space bounded identities of human beings living in visibly divided phenomenal worlds, the de-Kantian philosophies of the Global IR research programme – exemplified by the Tianxia, Advaita, and Nishida Kitaro’s Buddhism-inspired theories – recuperate the temporally-spatially indivisible phenomenal-noumenal flow of human life, thereby facilitating back-and-forth movement between the Westdominated ‘one world’ and the non-West-embodied ‘many worlds’. The central objective of the book is to demonstrate how this back-and-forth movement offers opportunities to conceive of and found a new world order that recognizes the temporally-spatially indivisible human condition on earth. The book delineates a set of guiding principles to promote an innovative practice of theory-building and policy-making that transcends the geo-centric limitations of knowledge-production and knowledge-application, thereby establishing the futuristic foundation of the Global IR research programme.

Leading Anglican writers from around the world challenge the assumption that the communion is split between a liberal 'north' and an orthodox 'south'. Anglican churches worldwide are sharply divided on homosexuality. The dominant stereotype is that of a "global south" unanimously lined up against homosexuality as immoral and sinful, and of a liberal and decadent global north. The differences between the two sides are seen as fundamental, and irreconcilable. Nothing is further from the truth: homosexual behavior exists across the whole Anglican Communion, whether it is openly celebrated or quietly integrated into local churches and cultures. In this extraordinary book, in development for several years, this is exposed as a myth. Christians throughout Africa, Asia, and the developing world - bishops, priests and religious, academics and lay writers - open up dramatic new perspectives on familiar arguments and debates. Topics include biblical interpretation, sexuality and doctrine, local history, sexuality and personhood, the influence of other faiths, issues of colonialism and post-colonialism, homophobia, and the place of homosexual persons in the church. Other Voices, Other Worlds reveals the rich historical and cross-cultural complexity to same-sex relationships, and injects dramatic new perspectives into a debate that has become stale and predictable.

Inventing the Novel uses the work of the Russian philosopher Mikhail Bakhtin (1895-1975) to explore the ancient origins of the modern novel. The analysis focuses on one of the most elusive works of classical antiquity, the Satyrica, written by Nero's courtier, Petronius Arbiter (whose singular suicide, described by Tacitus, is as famous as his novel). Petronius was the most lauded ancient novelist of the twentieth century and the Satyrica served as the original model for F. Scott Fitzgerald's The Great Gatsby (1925), as well as providing the epigraph for T. S. Eliot's The Waste Land (1922), and the basis for Fellini Satyricon (1969). Bakhtin's work on the novel was deeply informed by his philosophical views: if, as a phenomenologist, he is a philosopher of consciousness, as a student of the novel, he is a philosopher of the history of consciousness, and it is the role of the novel in this history that held his attention. This volume seeks to lay out an argument in four parts that supports Bakhtin's sweeping assertion that the Satyrica plays an "immense" role in the history of the novel, beginning in Chapter 1 with his equally striking claim that the novel originates as a new way of representing time and proceeding to the question of polyphony in Petronius and the ancient novel.

Examines Eno's work as a musician, theoretician, and collaborator.

The recent turns to affect and aesthetics in the humanities and the interpretive social sciences have been productive for reflecting on the crucial role sensibility plays in the constitution of the social. However, these scholarly developments construct their interventions by dismissing the attention to language that was central to the linguistic and cultural turns of previous eras and by claiming that language is an obstacle to experiencing the reality of difference to which they maintain only sensibility can grant access. By analyzing the figure of the voice in the work of Martin Heidegger and the continental thinkers who follow him, The Scene of the Voice shows that the dismissal of language in favor of sensibility requires overlooking their common connection in the problem of mimesis. As this book ultimately argues, artificially separating language and sensibility results in a failure to encounter affect, the relation to difference affect is said to name, and the experience of thinking affect is taken to provoke.

Contains information, advice, games, exercises, and experiments to access your natural ability to communicate with the animal kingdom.

The resonating metallic tone of the voice is a constant nuisance to Michael Tyler. As a boy, every time he hears it, he lashes out violently. By the age of ten, he's taking regular doses of medication, and it isn't long before he's institutionalized. But now, he's all grown up, out on his own and the phantom voice has returned. This time, it won't go away. It tells Michael it's an alien entity that is able to communicate with him through a portal in his own mind. Not everyone has these portals; he's one of a select few. Michael is happy for the first time in a long while, knowing that perhaps he isn't crazy after all. And with the help of the voice, he develops psychic abilities and uses them to win back control of a private trust that gains him access to a fortune. But now, the voice wants Michael to begin communicating with others who have portals as well. By linking with them, he can share his psychic abilities and they all can become powerful. Join Michael on a fantastic journey filled with adventure, unanswered questions and false appearances in The Distant Voices.

This eclectic collection of original essays explores women's musical activities and expressions from the twelfth century to the present