Nothing Greater Nothing Better

The love of God is arguably the most central doctrine of the Christian faith, and yet, remarkably, the subject of God's love has not received the attention it deserves. This new work by an international team of theologians and biblical scholars fills this need, offering a clear, complete, and inspiring discussion on the nature of God's love and its meaning for the Christian life. After surveying the ways in which the love of God has been understood through the ages, the book constructs an understanding of God's love particularly relevant for today. Though exploring the subject from many angles 'biblical theology, historical theology, philosophical theology, and systematic theology' these chapters are united in seeing Jesus, who was at once human and divine, as the ultimate criterion for defining the love of God.

A new, philosophically grounded theory of the voice—the voice as the lever of thought, as one of the paramount embodiments of the psychoanalytic object. Plutarch tells the story of a man who plucked a nightingale and finding but little to eat exclaimed: "You are just a voice and nothing more." Plucking the feathers of meaning that cover the voice, dismantling the body from which the voice seems to emanate, resisting the Sirens' song of fascination with the voice, concentrating on "the voice and nothing more": this is the difficult task that philosopher Mladen Dolar relentlessly pursues in this seminal work. The voice did not figure as a major philosophical topic until the 1960s, when Derrida and Lacan separately proposed it as a central theoretical concern. In A Voice and Nothing More Dolar goes beyond Derrida's idea of "phonocentrism" and revives and develops Lacan's claim that the voice is one of the paramount embodiments of the psychoanalytic object (objet a). Dolar proposes that, apart from the two commonly understood uses of the voice as a vehicle of meaning and as a source of aesthetic admiration, there is a third level of understanding: the voice as an object that can be seen as the lever of thought. He investigates the object voice on a number of different levels—the linguistics of the voice, the metaphysics of the voice, the ethics of the voice (with the voice of conscience), the paradoxical relation between the voice and the body, the politics of the voice—and he scrutinizes the uses of the voice in Freud and Kafka. With this foundational work, Dolar gives us a philosophically grounded theory of the voice as a Lacanian object-cause.

A new, philosophically grounded theory of the voice—the voice as the lever of thought, as one of the paramount embodiments of the psychoanalytic object. Plutarch tells the story of a man who plucked a nightingale and finding but little to eat exclaimed: "You are just a voice and nothing more." Plucking the feathers of meaning that cover the voice, dismantling the body from which the voice seems to emanate, resisting the Sirens' song of fascination with the voice, concentrating on "the voice and nothing more": this is the difficult task that philosopher Mladen Dolar relentlessly pursues in this seminal work. The voice did not figure as a major philosophical topic until the 1960s, when Derrida and Lacan separately proposed it as a central theoretical concern. In A Voice and Nothing More Dolar goes beyond Derrida's idea of "phonocentrism" and revives and develops Lacan's claim that the voice is one of the paramount embodiments of the psychoanalytic object (objet a). Dolar proposes that, apart from the two commonly understood uses of the voice as a vehicle of meaning and as a source of aesthetic admiration, there is a third level of understanding: the voice as an object that can be seen as the lever of thought. He investigates the object voice on a number of different levels—the linguistics of the voice, the metaphysics of the voice, the ethics of the voice (with the voice of conscience), the paradoxical relation between the voice and the body, the politics of the voice—and he scrutinizes the uses of the voice in Freud and Kafka. With this foundational work, Dolar gives us a philosophically grounded theory of the voice as a Lacanian object-cause.

A short story collection compiled of sci-fi and plain old regular fiction . Some stories reflect the nature in universal beings, some are just plain silly. With each story lasting just a few pages they are laid out sweet and punchy, allowing you to skip through or reread at your own peril. If you can imagine biting the head off some poor lizard, scouring the oceans of some distant moon, robbing mannequins for sheer entertainment, shifting giant chess pieces, some deceptive multi-lingual interpreter, then you shall have no problem understanding the text you are about to read.

Nothing More Comforting is a reflection of our society: an eclectic mix of many different cultures and traditions. Dorothy Duncan – with her extensive knowledge of heritage foods – has chosen her favourite "Country Fare" columns from the popular Century Home magazine for this wonderful book on Canada’s heritage cuisine. Each chapter focuses on one particular food or ingredient followed by historical facts and traditional recipes for you to try at home. Fast food restaurants and instant foods will never replace our seasonal and regional specialties: maple syrup, fiddleheads, rhubarb (pie plant to our ancestors), asparagus, corn on the cob, Saskatoon berries and McIntosh apples. The recipes in this book take advantage of Canada’s unique foods, creating a taste that is distinctly Canadian. Nothing More Comforting will provide the avid as well as the armchair cook with interesting food facts and new recipes to try.

Landon Gibson as he leaves Washington to navigate love and life in New York City.