Cameroon is no longer a peace-haven in Central Africa. This bilingual poetry anthology is a literary response to the avoidable but worsening and under-reported fratricidal war in Anglophone Cameroon. Written in English and French, the anthology brings together thirty-three poets from thirteen countries in Africa and beyond. The poets are concerned with the blood baths, burnings and other crimes committed in Anglophone Cameroon in the name of unity or division. Their poems paint raw images of the cruel killings of old people, pregnant women and children like those of #NgarbuhMassacre. They excavate the hidden mass graves and unveil the countless villages reduced to ashes and rubble. They recall the burning of animals and food and the brutal killing of nurses, patients and teachers. Their stanzas meander along with refugees in forests into Nigeria, into the jungles of Mexico en route to the US, and elsewhere. It is poetry speaking for human life and dignity, for peace and education, for inclusive dialogue, for reconciliation. It is poetry which should ruffle the consciences of those doing business in war, those pulling strings behind curtains, those who see oil before humans, those who trigger guns at their own brothers, sisters and parents, those who give orders to killin short, those who enjoy warfare as they profit from the spoils of war. This anthology seeks to raise global awareness on this forgotten war as a way of contributing to justice, healing, and peace in Cameroon.

Anyone who has ever tried to present a rather abstract scientific subject in a popular manner knows the great difficulties of such an attempt. Either he succeeds in being intelligible by concealing the core of the problem and by offering to the reader only superficial aspects or vague allusions, thus of deluding the reader by arousing in him the deceptive illusion of comprehension; Or else he gives an expert account of the problem, but as the untrained reader is unable to follow the exposition and becomes discouraged from reading any further. If these two categories are omitted from todays popular scientific literature, surprisingly little remains. But the little left is very valuable indeed. It is very important that the public is given an opportunity to experience-consciously and intelligently-the efforts and results of scientific research. It is not sufficient that each successive progression is taken up, elaborated, and applied by a few specialists in the field. Restricting the body of knowledge to a small group deadens the philosophical spirit of these people and leads to spiritual poverty. THE CORPSES OF TIMES GENERATIONS represents a valuable contribution to popular scientific writing. The main ideas to Theory are extremely well presented. Moreover, the presents state of our knowledge in which the paradigms of science are aptly characterized. Mr. Kosciejew shows how the criterial growth of our factual knowledge, with the striving for a unified conception comprising all empirical data, has led to the present situation which is characterized -despite all successes by an uncertainty concerning the choice of the basic theoretical concept.

To Transform a City is a timely, compelling book that helps readers understand how to think about cities, their own city, and the broad strategies needed for kingdom impact. The book begins with an overview of the importance of cities in the new day in which we live. The authors address the process of transformation along with examples of where and how communities have been transformed throughout history. After writing a persuasive chapter on kingdom thinking the authors unfold the meaning of the whole church, the whole gospel, and the whole city. The book ends with the need for people of good faith to work together in the city with people of good will for the welfare of the city.

The present work is an attempt to analyse critically Plato's views on mind and body and more particularly on the mind-body relationship within the wider setting of Plato's metaphysics. We seek to achieve this by a philosophical examination"-of the dialogues on the basis of a generally accepted order (some revision of this order is a by-product of our examination). Strictly speaking "soul" ought perhaps to be substituted for "mind" in the above. But it seems to be in terms of "mind" that modern philosophers deal with and refer to the problem that Plato tackled (mainly) in terms of psyche, and as it is part of the motivation for dealing with Plato's treatment that it is of importance for the modern debate, it has been felt necessary to stress the rough identity* of the problem in the title of the book (and in the Introduction, in the title of Part Three and a few other places). Below this superordinate level we try to keep "mind" as a translation typically of nous and "soul" as a translation of psyche.

An outstanding piece of scholarship and a fascinating read, The Body Emblazoned is a compelling study of the culture of dissection the English Renaissance, which informed intellectual enquiry in Europe for nearly two hundred years. In this outstanding work, Jonathan Sawday explores the dark, morbid eroticism of the Renaissance anatomy theatre, and relates it to not only the great monuments of Renaissance art, but to the very foundation of the modern idea of knowledge. Though the dazzling displays of the exterior of the body in Renaissance literature and art have long been a subject of enquiry, The Body Emblazoned considers the interior of the body, and what it meant to men and women in early modern culture. A richly interdisciplinary work, The Body Emblazoned re-assesses modern understanding of the literature and culture of the Renaissance and its conceptualization of the body within the domains of the medical and moral, the cultural and political.

"If the dying body makes us flinch and look away, struggling not to see what we have seen, the lost body disappears from cultural view, buried along with the sensory traces of its corporeal presence."—from the Introduction American popular culture conducts a passionate love affair with the healthy, fit, preferably beautiful body, and in recent years theories of embodiment have assumed importance in various scholarly disciplines. But what of the dying or dead body? Why do we avert our gaze, speak of it only as absence? This thoughtful and beautifully written book—illustrated with photographs by Shellburne Thurber and other remarkable images—finds a place for the dying and lost body in the material, intellectual, and imaginary spaces of contemporary American culture. Laura E. Tanner focuses her keen attention on photographs of AIDS patients and abandoned living spaces; newspaper accounts of September 11; literary works by Don DeLillo, Donald Hall, Sharon Olds, Marilynne Robinson, and others; and material objects, including the AIDS Quilt. She analyzes the way in which these representations of the body reflect current cultural assumptions, revealing how Americans read, imagine, and view the dynamics of illness and loss. The disavowal of bodily dimensions of death and grief, she asserts, deepens rather than mitigates the isolation of the dying and the bereaved. Lost Bodies will speak to anyone imperiled by the threat of loss.

The aim of this book is to provide an account of modernist painting that follows on from the aesthetic theory of Theodor W. Adorno. It offers a materialist account of modernism with detailed discussions of modern aesthetics from Kant to Arthur Danto, Stanley Cavell, and Adorno. It discusses in detail competing accounts of modernism: Clement Greenberg, Michael Fried, Yve-Alain Bois, and Thierry de Duve; and it discusses several painters and artists in detail: Pieter de Hooch, Jackson Pollock, Robert Ryman, Cindy Sherman, and Chaim Soutine. Its central thesis is that modernist painting exemplifies a form of rationality that is an alternative to the instrumental rationality of enlightened modernity. Modernist paintings exemplify how nature and the sociality of meaning can be reconciled.

Since the beginning of the twentieth century, critics have predominantly offered a negative estimate of John Donne’s Metempsychosis. In contrast, this study of Metempsychosis re-evaluates the poem as one of the most vital and energetic of Donne’s canon. Siobhán Collins appraises Metempsychosis for its extraordinary openness to and its inventive portrayal of conflict within identity. She situates this ludic verse as a text alert to and imbued with the Elizabethan fascination with the processes and properties of metamorphosis. Contesting the pervasive view that the poem is incomplete, this study illustrates how Metempsychosis is thematically linked with Donne’s other writings through its concern with the relationship between body and soul, and with temporality and transformation. Collins uses this genre-defying verse as a springboard to contribute significantly to our understanding of early modern concerns over the nature and borders of human identity, and the notion of selfhood as mutable and in process. Drawing on and contributing to recent scholarly work on the history of the body and on sexuality in the early modern period, Collins argues that Metempsychosis reveals the oft-violent processes of change involved in the author’s personal life and in the intellectual, religious and political environment of his time. She places the poem’s somatic representations of plants, beasts and humans within the context of early modern discourses: natural philosophy, medical, political and religious. Collins offers a far-reaching exploration of how Metempsychosis articulates philosophical inquiries that are central to early modern notions of self-identity and moral accountability, such as: the human capacity for autonomy; the place of the human in the ’great chain of being’; the relationship between cognition and embodiment, memory and selfhood; and the concept of wonder as a distinctly human phenomenon.

Hansen argues that unity formula employed in Gal 3.28, 1 Cor 12.13 and Col 3.11 offers equality between competing social groups.