To treat The Walking Dead as if it were only a zombie apocalypse story is to miss the deep and fundamental questions about society that the story raises. By looking past the immediacy of the zombie threat that drives the main narrative of the story – survival – it is possible to tease out important questions about community, social organization, leadership, utopian and dystopian world building, and, most importantly, morality. By focusing on the communities that come together in (...) The Walking Dead, this chapter examines how societal questions of utopian and dystopian world building frame important questions about how society functions, how it ought to function, and what it will take to get us beyond the problems plaguing contemporary society. (shrink)

Both the comic book series and TV show force us to confront our most cherished values and ask: would we still be able to hold onto these things in such a world? What are we allowed to do? What aren't we? Are there any boundaries left?

The Walking Dead is a popular TV series depicting a catastrophic and violent world. After a pandemic that turns humans into zombies, we witness the collapse of civilization with all its institutions, the depletion of the resources, and the struggle to build a new world in the middle of the wars between surviving groups. It illustrates a world of literal and metaphorical homo homini lupus. Some people choose sheer survival, and others try to build a moral, civil world. (...) In this article, I propose a reading of this series from a Kantian perspective by employing his interrelated ideas on history, ethics, and politics. I claim that The Walking Dead represents the state of nature and the violence it contains, and illustrates the course of history toward a civil society as defined by Kant. (shrink)

This article argues that greater theoretical attention should be paid to the figure of the zombie in the fields of law, cultural studies and philosophy. Using The Walking Dead as a point of critical departure concepts of legal personhood are interrogated in relation to permanent vegetative states, bare life and the notion of the third person. Ultimately, the paper recommends a rejection of personhood; instead favouring a legal and philosophical engagement with humanity and embodiment. Personhood, it is suggested, (...) creates a barrier in law allowing individuals in certain contexts to be rendered non-persons and thus outside the scope of legal rights. An approach that rejects personhood in favour of embodiment would allow individuals to enjoy their rights without being subject to such discrimination. It is also suggested that the concept of the human, itself complicated by the figure of the zombie, allows for legal engagement with a greater number of putative rights claimants including admixed embryos, cyborgs and the zombie. (shrink)

This article explores notions of death and subjectivity, through the zombie, in the first four seasons of the AMC show, The Walking Dead. The body of the zombie elicits intriguing speculations. In its death, zombie lingers in the overlapping wedge between the grotesque and the sublime. Stemming from this idea, and through a re-analysis of the zombie as a concept, we propose an update to the Lacan/Zizek psychoanalytical models for death and subjectivity, as well as offer an explanation, (...) through the Holocaust, for this ubiquitous post-apocalyptic fantasy. (shrink)

ZusammenfassungSeit seiner Entstehung zeichnet sich das Genre des Zombie-Films durch eine kulturreflexive Komponente aus, die politische Entwicklungen kritisch begleitet. Abseits dieser gesellschaftskritischen Traditionslinie wird in der TV-Serie The Walking Dead eine weitere Ebene der Reflexion eingeführt. Auch wenn hier viele der ästhetischen und narrativen Traditionen des Zombie-Genres aufgegriffen werden, ermöglicht der Seriencharakter einen vertiefenden Blick der Charaktere im Angesicht des apokalyptischen Zerfalls von personalen, familiären und gesellschaftlichen Gewissheiten und Wertestrukturen. Am deutlichsten wird diese Verunsicherung angesichts des Umganges mit (...) dem Tod. Damit reflektiert die Serie auch die zunehmende reale Aushebelung der Gewissheit des Todes durch die Lebenswissenschaften ab den 1960er-Jahren. Die Ausprägungen und Folgen dieses Diskurses werden in The Walking Dead in Form einer Negation biologischer Gewissheiten dramatisch zugespitzt. Somit bietet die Serie nicht nur ein kritisch-reflexives Medium auf die im Umlauf befindlichen Diskurselemente, sondern sie fügt auch neue Perspektiven auf den Tod in der Gesellschaft hinzu. (shrink)

Did you know that insects could be tried for criminal acts in pre-industrial Europe, that the dead could be executed, that statues could be subjected to public humiliation, or that it was widely accepted that corpses could return to life? What made reasonable, educated men and women behave in ways that seem utterly nonsensical to us today? Strange Histories presents for the first time a serious account of some of the most extraordinary occurrences of European history. Throughout the ages, (...) people have held ideas and events have taken place which have baffled later societies. Religious disbelievers were thought deserving of death, insects were occasionally excommunicated, studying the biology of angels was a legitimate activity, and the pursuit of personal happiness was considered rather misguided as a life strategy. Using case studies from the Middle Ages and the early modern period with some from the more recent past, this book provides fascinating insights into the world-view through the ages, and shows how such goings-on fitted in quite naturally with the "common sense" of the time. Explanations of these phenomena, riveting and ultimately rational, encourage further reflection on what really shapes our beliefs. In the light of history, can we be sure of the validity of our own ideas? How many of our own beliefs might no longer "make sense" a few centuries from now? (shrink)

De-extinction raises anew ontological and epistemological problems that have engaged environmental philosophers for decades. This essay re-examines these issues to provide a fuller understanding—and a critique—of de-extinction. One of my claims is that de-extinction as a philosophical problem merely recycles old issues and debates in the field (hence, “zombie” arguments). De-extinction is a project that arises out of the assertion of human domination of the natural world. Thus the acceptance of de-extinction as an environmental policy is an expression of a (...) human-nature relationship that disvalues the natural world and subjugates nature completely to the interests of humanity. (shrink)

O terror, enquanto gênero, explora a tese psicanalítica de que a fantasia organiza a relação individual com a realidade. Os filmes de terror com zumbis, por sua vez, podem explorar e explicitar teses psicanalíticas fundadas por Sigmund Freud, como nos casos dos conceitos infamiliar e pulsões. Dentre os conteúdos ficcionais de zumbis, certamente uma das séries mais populares e a mais duradoura (2010 - atualmente) é The Walking Dead, baseada na obra de Robert Kirkman. Assim, este artigo propõe (...) como objetivo geral a percepção de como algumas teorias de Freud se relacionam com o audiovisual de zumbis a partir de títulos específicos, isto é, escolhemos a figura do zumbi para estudar tais conceitos da teoria psicanalítica. O infamiliar trata daquilo que é aterrorizante, que promove “angústia e horror” e que remete ao antigo conhecido e íntimo. O infamiliar é tudo aquilo que deveria permanecer afastado dos olhos e do conhecimento, em segredo, ocultado e que se revelou. Para Freud, um conceito imprescindível, fundamental e convencional da Psicanálise é o de pulsão, que atua como uma força constante, atacando do interior do corpo e da qual a fuga é ineficaz. Freud sugere, inicialmente, a diferenciação entre dois grupos de pulsões primordiais: as pulsões do Eu e as pulsões sexuais. Freud caracteriza a pulsão sexual como um conceito fronteiriço entre o somático e o psíquico. Também esclarece que uma pulsão de morte é “uma pressão inerente ao orgânico animado para restabelecer um estado anterior”, abandonada pela influência de forças externas. Dois episódios da série televisiva The Walking Dead serão analisados de acordo com os conceitos freudianos estudados: o primeiro episódio da primeira temporada, intitulado Days Gone Bye, e o último episódio também da primeira temporada, intitulado TS-19, ambos televisionados no ano de 2010. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:DEAD MAN WALKING: ON THE CINEMATIC TREATMENT OF LICENSED PUBLIC KILLING Edmund Arens University ofLucerne I regret that so many people do not understand, but I know that they have not watched the state imitate the violence they so abhor. (Sister Helen Prejean) ~T\eadMan Walking, thehighlyacclaimed second film directed by Tim -Z-^Robbins, seems appropriate for discussion in the symposium's context oíFilm andModernity: Violence, Sacrifice andReligion. This (...) film on the one hand thematizes different forms ofviolence and victimization; on the other hand it presents divergent forms ofreligion. And it does so in a way which not only demonstrates the interplay of violence and religion but also opens up the chance of transcending various kinds of sacrificial structures inhabiting that interplay. We can approach DeadMan Walking in five steps. After some general remarks about this film as a work of art, I will briefly review the story line. In the part called Themes and Topics, I will outline some of the predominant topics addressed in this movie. The fourth step is devoted to the interrelation of Violence, Victimization and Redemption. Finally, the religious or theological question comes into view under the heading of Proximity and Testimony, an aspect which at the same time has a definite link to law and the legal system. I. DeadMan Walking as a Work of Art According to Susan Sontag, film "currently is the most vivid, the most stimulating, and the most important of all genres of art" (Sontag 13). But Edmund Arens15 whether a particular film really can be considered as a work of art depends on a number of presuppositions, a few of which I shall mention here. Without going too deeply into the debate on the nature and purpose of aesthetic production, there are at least some requirements which point to a work ofart. Roughly speaking, it is defined by putting matter and form into a certain relation, by creating or producing a certain structure, by adopting a certain style and by organizing the material by means ofgenres (all ofwhich relates to the classical notion of poesis). Secondly, a work of art deals with perception in a double way: while it implies a certain perception ofreality, it also invites the audience to participate in this perception and thus to deepen, alter, or correct the perception that they experienced (something which relates to aisthesis). Thirdly, art aims at having certain emotional effects on the public that are either purifying or edifying (something which since Aristotle has been discussed as katharsis). Ifthese three dimensions (cf. Jauss; Siller) are always involved in works ofart, we can ask how in DeadMan Walking the interplay ofpoesis, aisthesis, and katharsis is at work. Under certain conditions a film is a creative work ofart. In this case, the motion picture, whether documentary or fictitious, includes an aesthetic creation of an imagined reality. It does not simply mirror reality but always reconstructs or reshapes it. In fictional film narrative, everyday reality is disrupted and rearranged by means of a variety of formal and material techniques. The treatment of reality necessarily involves the question of representation. What Paul Ricoeur considered as decisive for narrative fiction, applies to narrative fiction films as well: they make use of "calculated dissonance" which disrupts everyday reality and thereby points to a "redescription ofreality" (Ricoeur 1975; 1976; 1986). We shall see later on how this process, attributed especially to certain metaphors, works in the case ofDeadMan Walking. Besides the topic ofrepresentation, any kind of art raises the question of perception. Art implies a certain perception and at the same time it offers or invites—in the case of visual art—the audience to perceive reality in a different or deeper manner. In amovie the audience, whether by a manipulative "aesthetics of overwhelming"1 or by an aesthetics of disclosing, is moved emotionally and imaginatively, the aim being to direct their attention to the secret ofthe things shown and thus to direct or redirect their view ofreality. From the point of view of a pragmatic theory of action (cf. Arens 1994; 1997b) which additionally takes up Ricoeur's most important insights, I would 'The term has been coined by Heiner Müller; quoted from Kirsner... (shrink)

The American Journal of Bioethics, Volume 11, Issue 12, Page 1-3, December 2011.

Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture, with ever more diverse representations of the undead being imagined. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of our sexual behaviors. However, the notion of zombie sex has been largely unaddressed in scholarship. (...) -/- This collection addresses that unexamined aspect of zombiedom, with essays engaging a variety of media texts, including graphic novels, films, television, pornography, literature, and internet meme culture. The essayists are scholars from a variety of disciplines, including history, theology, film studies, and gender and queer studies. Covering The Walking Dead, Warm Bodies, and Bruce LaBruce’s zombie-porn movies, this work investigates the cultural, political and philosophical issues raised by undead sex and zombie sexuality. (shrink)

A mime presented on videotape Adler’s six great ideas of truth, goodness, beauty, liberty, equality, and justice; their opposites; and the transitions from the positive or “good” concepts to their opposites. Using Johansson’s (1973) technique, the performer’s 12 joints were marked with points of light. Overall, the viewers had marginal success in identifying the concepts, but females were much more successful than males in identifying the “bad” ones of evil, slavery, falsehood, and ugliness, averaging 62% correct to the males’ 23%. (...) The results agree with Hall’s (1984) discussion of sex differences in the interpretation of nonverbal behavior. (shrink)

In Alice Walker’s vignette “The Flowers,” a young black girl’s walk in the woods is interrupted when she treads “smack” into the skull of a lynched man. As her name predicates, Myop’s age and innocence obstruct her from seeing deeply into the full implications of the scene, while the more worldly reader is jarred and confronted with a whole history of racial violence and slavery. The skeleton, its teeth cracked and broken, is a temporal irruption, a Gothic “smack” that shatters (...) the transience of the pastoral scene with the intrusion of a deeper past from which dead matter/material de-composes the story’s present with the violent matter/issue of racism. Walker’s story is representative of an important trope in fiction, where the pastoral dead speak through the details of their remains, and the temporal fabric of text is disrupted by the very substance of death. Against the backdrops of Terry Gifford’s post-pastoral and Fred Botting’s Gothic understanding of the literary corpse as “negative[ly] sublime,” this essay explores the fictional dead as matter unfettered by genre, consistently signifying beyond their own inanimate silences, revealing suppressed and unpalatable themes of racial and sexual violence, child abuse and cannibalistic consumerism. Along with Walker’s story, this study considers these ideas through new readings of Stephen King’s novella The Body, Raymond Carver’s story “So Much Water So Close to Home,” and The Road by Cormac McCarthy. While these writers may form an unlikely grouping in terms of style, each uses pastoral remains as significant material, deploying the dead as Gothic entities that force the reader to confront America’s darkest social and historical matters. (shrink)

Ducklings were placed either singly or in pairs on a platform at two different heights. Both height and pairing influenced performance: More ducklings descended from the platform at low heights, and more single ducklings descended than paired ducklings. The social factor, pairing, made behavior more cautious and decreased the number of distress calls. A similar trend for pairing to influence performance was shown on the visual cliff. Without its peers, the duckling is a distressed animal. Previous careless behavior by ducklings (...) on the visual cliff may be ascribed to testing the ducklings outside their normal social environment. (shrink)

We focus on a particular class of computably enumerable degrees, the array noncomputable degrees defined by Downey, Jockusch, and Stob, to answer questions related to lattice embeddings and definability in the partial ordering of c. e. degrees under Turing reducibility. We demonstrate that the latticeM5 cannot be embedded into the c. e. degrees below every array noncomputable degree, or even below every nonlow array noncomputable degree. As Downey and Shore have proved that M5 can be embedded below every nonlow2 degree, (...) our result is the best possible in terms of array noncomputable degrees and jump classes. Further, this result shows that the array noncomputable degrees are definably different from the nonlow2 degrees. We note also that there are embeddings of M5 in which all five degrees are array noncomputable, and in which the bottom degree is the computable degree 0 but the other four are array noncomputable. (shrink)

But the book contributes much more. Its discussion of how macroeconomics developed, and the ideology that has grown up around it, is every bit as important and interesting."--Mark Thoma, University of Oregon "This is a terrific book.

A computably enumerable (c.e.) degree is a maximal contiguous degree if it is contiguous and no c.e. degree strictly above it is contiguous. We show that there are infinitely many maximal contiguous degrees. Since the contiguous degrees are definable, the class of maximal contiguous degrees provides the first example of a definable infinite anti-chain in the c.e. degrees. In addition, we show that the class of maximal contiguous degrees forms an automorphism base for the c.e. degrees and therefore for the (...) Turing degrees in general. Finally we note that the construction of a maximal contiguous degree can be modified to answer a question of Walk about the array computable degrees and a question of Li about isolated formulas. (shrink)

Erotic Nights of the Living Dead (1980) may have featured both animated corpses and hardcore sex scenes, but only recently have Re-Penetrator (2004) and Porn of the Dead (2006) managed to fully eroticise the living dead, allowing these creatures to engage in intercourse. In doing so, the usually a-subjective zombie is allotted a key facet of identity - sexuality. This development within the sub-genre needs accounting for outside of the contexts of porn studies, where it has only (...) been briefly touched upon in relation to its "extremity". -/- Moreover, the gendering of the undead opens a discussion which expand the horizons of zombie studies away from the overt critiques of capitalism, race and psychoanalysis that have pervaded analyses of these narratives. The dichotomy of binary oppositions so often associated with psychoanalytic approaches dictates that "passive (non-phallic) = female", and "active (phallic) = male". In these terms, the zombies are feminine - soft-bodied and passive, despite their murderous intent (which has been accounted for, by Barabara Creed (1993) amongst others, by invoking the vagina-dentata motif). Humans (active) are deemed masculine, not least since they tend to dispatch zombies with "phallic guns". Taking this logic to an extreme, the zombie may be read as allegorising feminism: the "feminised" figures (zombies) become fearsome in their will to exert themselves despite their seeming disempowerment in the face of "masculine" hegemony. Ultimately, by grouping together as a force, they overthrow or at least significantly damage that "normality" (an ideological paradigm usually read in terms of race, class and economics). (shrink)

I have been working on meta-philosophy for quite some time and was pleasantly surprised to encounter, mid-May 2017, someone who shares this commitment (apart from his many other interests and specializations) for very similar reasons as my own. He is Dr Desh Ray Sirswal from India and one of his numerous websites, blogs, journals, etc is - http://drsirswal.webs.com/ I let him speak for himself. “My objective is to achieve an intellectual detachment from all philosophical systems, and not to solve specific (...) philosophical problems but to become sensitively aware of what it is when we philosophize.” Copyright© Desh Raj Sirswal . I commence by dealing with the teaching of philosophy, because the contents of what is being taught at under-graduate level is for most people who are slightly informed about the subject what philosophy is about. This usually consists of the history of Ideas of Western Philosophy. Although an increasing number of faculties now broaden the scope to the ‘philosophies’ of Asia, the Far East and the Middle East. This international broadening of what is being included in curricula of or as philosophy is another index that Western Philosophy is in need of subject-matter as its traditional subject-matter have all but died out. Apart from the History of Philosophical ideas, the subject often is presented in terms of so-called branches, for example metaphysics, ontology, epistemology, ethics, logic, and so on. A number of authors suggest that both ways of teaching the discipline is very selective because of the departments adherence to some form of either ‘analytical’ or ‘continental’ philosophy. Apart from the traditional lecture-style the teaching of philosophy is dealt with by means of some variation on the Oxbridge ‘tutorial’-style. Tutorials are often acclaimed as being an amazing, to be highly regarded innovation. Some studies and research of it however revealed that is not at all very comprehensive but is restricted to a number of items concerning reasoning, argumentation and critical re-viewing and thinking. This approach forms part of the attempt by contemporary research universities to teach aspects of ‘research’. This brings us to my next section on methods of doing philosophy. I suggest that the doing of philosophy resembles certain aspects and contexts of some of the steps and stages of doing theorizing. This is the rationale for including the next section on theorizing, its steps, stages and other aspects such as the use of metaphors, imaginary experiments, heuristic devices, etc. The next section deals with the changing nature of traditional philosophy as it lost most of its subject-matter to other disciplines that have been socio-culturally differentiated. And the search for new philosophical subject-matter such as Experimental Philosophy or XPhi, the involvement of philosophers in inter-disciplinary studies, especially the latest fad of cognitive studies or sciences and of course the fabrication of philosophies of all areas of human behaviour and kinds of socio-cultural activities for example sport, the arts, sciences, cognition, sex, violence, gender, race, religion, etc etc. I then turn to the question about how, where and why one could perhaps do philosophy against the background of the above. In this investigation I make explicit some of the self-imposed limits of the discourse. Some of these restrictions have been created because of the absolute institutionalization of the discipline as just another subject of universities. This institutionalization of course requires that those involved in the discipline of institutionalized philosophy must be professionals. This absolute requirement lays down the condition that to be a philosopher one must be a professional and an academic. The conditions of institutionalization and professionalization have far reaching consequences for the philosophical discourse, its subject-matter, methods, principles, values, aims, purposes and norms. One of these is the need to publish and to publish often especially in peer-reviewed journals and in their required, institutionalized format. Because of these institutionalized restrictions of what philosophy is, what it must be like, what it may be like and what it may not be like I explore the lack of self-cognition of academically institutionalized philosophy and the associated absence of critical, meta-cognition and self-awareness of professional philosophers. I question the values of doing that type of philosophy, philosophy-on-demand and because of demand and suggest that it is preferable to engage with the more original, creative-thinking philosophers’ work. All of the above are of course intersubjectively determined and this is why I finally explore the nature and operation of different forms of intersubjectivity, for example of common sense, everyday existence, that of the different sciences, the arts, etc and the roles or functions of these things in the creation or constitution of alternative discourses, their realities, life-worlds or perspectives on ‘the world, reality, and existence’. This is the phantom, the ghost of the deceased discourse of philosophy that I chased, encountered and describe. -/- . (shrink)

Innovative forms of green urban architecture aim to combine food, production, and design to produce food on a larger scale in and on buildings in urban areas. It includes rooftop gardens, rooftop greenhouses, indoor farms, and other building-related forms. This study uses the framework of sustainability to understand the role of ZFarming in future urban food production and to review the major benefits and limitations. The results are based on an analysis of 96 documents published in accessible international resources. The (...) analysis shows that ZFarming has multiple functions and produces a range of non-food and non-market goods that may have positive impacts on the urban setting. It promises environmental benefits resulting from the saving and recycling of resources and reduced food miles. Social advantages include improving community food security, the provision of educational facilities, linking consumers to food production, and serving as a design inspiration. In economic terms it provides potential public benefits and commodity outputs. However, managing ZFarming faces several challenges. For some applications, the required technologies are known but have not been used or combined in that way before; others will need entirely new materials or cultivation techniques. Further critical aspects are the problem of high investment costs, exclusionary effects, and a lack of acceptance. In conclusion, ZFarming is seen as an outside-the-box solution which has some potential in generating win–win scenarios in cities. Nevertheless, ZFarming practices are not in and of themselves sustainable and need to be managed properly. (shrink)

This paper explores the consequences of acknowledging that we are the dead walking with the dead. I argue that if we take the view that life frames death, rather than the view that death frames life, then we must refigure our living as ethical creatures. Using Aristotle's notion that we become virtuous by practising virtue, I argue that happiness, thought of in terms of ethical living, should temper our attitude to death as the inevitable end we must (...) all encounter. Acknowledgement of our dying and our death enhances the ethical imperative to live virtuously and to promote human flourishing. I adopt a Buddhist reading of death and dying to interpret the Aristotelian perspective. (shrink)

This paper explores the consequences of acknowledging that we are the dead walking with the dead. I argue that if we take the view that life frames death, rather than the view that death frames life, then we must refigure our living as ethical creatures. Using Aristotle's notion that we become virtuous by practising virtue, I argue that happiness, thought of in terms of ethical living, should temper our attitude to death as the inevitable end we must (...) all encounter. Acknowledgement of our dying and our death enhances the ethical imperative to live virtuously and to promote human flourishing. I adopt a Buddhist reading of death and dying to interpret the Aristotelian perspective. (shrink)

The work of the French Lithuanian Jewish philosopher, Emmanuel Levinas, describes a perceptive rethinking of the possibility of concrete acts of goodness in the world, a rethinking never more necessary than now, in the wake of the cruel realities of the twentieth century—ten million dead in the First World War, forty million dead in the Second World War, Hiroshima, Nagasaki, the Soviet gulags, the grand slaughter of Mao’s “Great Leap Forward,” the pointless and gory Vietnam War, the Cambodian (...) self-genocide and many an attempted extermination from the face of the earth of entire nations of indigenous peoples. The list of horrors goes on and on—daily holocausts that do not distinguish between the civilian and the soldier, the guilty and the innocent, those deserving of life and those less deserving. (shrink)

In this paper, we report on an experiment with The Walking Dead (TWD), which is a narrative-driven adventure game with morally charged decisions set in a post-apocalyptic world filled with zombies. This study aimed to identify physiological markers of moral decisions and non-moral decisions using infrared thermal imaging (ITI). ITI is a non-invasive tool used to capture thermal variations due to blood flow in specific body regions that might be caused by sympathetic activity. Results show that moral decisions (...) seem to elicit a significant decrease in temperature in the chin region 20 seconds after participants are presented with a moral decision. However, given the small sample involved, and the lack of significance in other regions, future studies might be needed to confirm the results obtained in this work. (shrink)

This book presents essays and scientific contributions examining the link between popular media and politics. The essays focus on the question of how political and social change, concepts of power, and utopian elements are reflected in selected films and television series. The book applies a political science perspective, covering theories from political philosophy, political sociology and international relations, and examines a wide range of movies and TV series, such as The Godfather, Fight Club, The Walking Dead and Game (...) of Thrones. It will appeal to anyone interested in studying how political ideas, concepts and messages can be illustrated and visualized using the complex media of movies and TV series. (shrink)

Nowadays references to the afterlife-angels strumming harps, demons brandishing pitchforks, God enthroned on heavenly clouds-are more often encountered in New Yorker cartoons than in serious Christian theological reflection. Speculation about death and its sequel seems to embarrass many theologians; however, as Greg Garrett shows in Entertaining Judgment, popular culture in the U.S. has found rich ground for creative expression in the search for answers to the question: What lies in store for us after we die? The lyrics of Madonna, Los (...) Lonely Boys, and Sean Combs; the plotlines of TV's Lost, South Park, and The Walking Dead; the implied theology in films such as The Dark Knight, Ghost, and Field of Dreams; the heavenly half-light of Thomas Kinkade's popular paintings; the ghosts, shades, and after-life way-stations in Harry Potter; and the characters, situations, and locations in the Hunger Games saga all speak to our hopes and fears about what comes next. In a rich survey of literature and popular media, Garrett compares cultural accounts of death and the afterlife with those found in scripture. Denizens of the imagined afterlife, whether in heaven, hell, on earth, or in purgatory, speak to what awaits us, at once shaping and reflecting our deeply held-if often somewhat nebulous-beliefs. They show us what rewards and punishments we might expect, offer us divine assistance, and even diabolically attack us. Ultimately, we are drawn to these stories of heaven, hell, and purgatory--and to stories about death and the undead--not only because they entertain us, but because they help us to create meaning and to learn about ourselves, our world, and, perhaps, the next world. Garrett's deft analysis sheds new light on what popular culture can tell us about the startlingly sharp divide between what modern people profess to believe and what they truly hope and expect to find after death--and how they use those stories to help them understand this life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How We Keep Caring While Walking Through Our PainOla Ziara and Rachel CoghlanAuthor Dedication. To my dear brother Omar Ziara, a bright doctor, entrepreneur, and community advocate who was killed in an Israeli bombing in November 2023.May your soul rest in peace and may your memory remain alive in our hearts. May your unborn child grow up to become the wonderful man that you were. Forever loved by (...) all.Palestinian-American poet, Suheir Hammad, writes:Occupation means that every day you die, and the world watches in silence. As if your death was nothing, as if you were a stone falling in the earth, water falling over water.And if you face all of this death and indifference and keep your humanity, and your love and your dignity and you refuse to surrender to their terror, then you know something of the courage that is Palestine.I am a doctor from the Gaza Strip in Palestine. I live through acute war and protracted occupation. I work under missiles and through scant resources. I experience risks and dangers and face abominable choices made from nightmares. I know heartbreaking death.As doctors here, we fear, suffer, cry, and grieve alongside our patients and their families. This is my story of how we continue to care.Summer 2014 A Fifty-Two-Day War: How To Stay And How To Keep Them SafeThe huge bombardment strikes close to the hospital, scattering glass and rubble. It brings an abrupt end to my rare, quiet pause for coffee. Are the babies hit? We sprint to the Neonatal Intensive Care Unit, our full attention only on those infants, hastily checking every crib. My thoughts are frenzied. What if the next missile strikes us? Will I be able to rescue them? Will I have time to carry their tiny bodies outside through wreckage and fire? How will I choose who to save, and who to leave behind? Could I choose? Will I even be able to think lucidly, act logically for those babies if the fire consumes us? We stay.Somewhere, a house razed to the ground, a mother and her children dead. This time, our babies are safe.Summer 2014 A Fifty-Two-Day War: How To Cast Off Danger And How To Find ConsolationA missile shatters our neighbour’s roof. I am about to leave home for my evening shift. I check on my shaking mum; she is okay, not hurt at least. I ring the senior doctor. I am sorry. I am coming. I will be a little late. Two further missiles hit, wiping out the next-door building completely. No, do not send an ambulance for me. It is too dangerous. I will come [End Page 153] alone. Trembling through the dust and darkness, I leave on foot to reach those babies. I must compose myself. We are needed there to bring calm, to keep caring.And we gamble our lives to seek distraction and comfort for ourselves. We find solace through unbearable pain in our caring.Winter, Spring, Autumn, Summer, Any Day: How To Question Purpose And How To Feel HelplessIt is an ordinary night shift in ‘quiet’ times. Tonight, all the beds are occupied. All the ventilators are taken, forcing life into small, sick faces. At dawn, the phone call comes. A new baby struggling to breathe is on his way. I call around. No more beds to take him here or anywhere. No more ventilators—here or anywhere. Bring him here. We will care for him.He is in a very bad way. He needs immediate life-saving care. We take turns manually ventilating him, working to the hissing rhythm of the Ambu Bag1—inflating, deflating, inflating. Our arms ache. We keep pumping the bag. Do not stop. The moment when the morning shift arrives is our moment of salvage. We can go home. We have made it through the night without medicines, machines, disposables, or enough manpower, our arms throbbing. We have kept him alive.But he is so fragile, the system is fragile, we are fragile. Dare I even ask—is it worth it? Is it worth a baby surviving the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 47, no. 1. © 2021 by Feminist Studies, Inc. 147 Eric Andrew James The Representational Necropolitics of Black Women in Zombie Dystopia Video Games Though Stuart Hall defends popular representation as an important terrain of political struggle, he also argues that images of difference are dominated by “racialized regimes of representation” manifest in stereotypes and invisibilities.1 These ensure that marginal identities are reduced, essentialized, and rendered other. (...) One of the most powerful tools for this form of silencing in the popular representation repertoire is the notion of an established genre. In US popular culture, creators and critics alike often position people who experience multiple layers of oppression as constitutively outside the expectations of existing genres. Their absence is attributable not simply to creator racism but also to that genre’s relationships to intersecting categories of difference and domination, such as race and gender. Beginning with the preponderance of representational violence in popular media, this article draws from existing work by feminists of color in order to model a critique of US representational precarity. To illustrate the political tensions in popular US culture, I stage my intervention into a medium whose industry has had particularly fraught struggles with representation: video gaming. There, I focus specifically on 1. Stuart Hall, “The Spectacle of the Other,” in Discourse Theory and Practice: A Reader, ed. Margaret Wetherell, Stephanie Taylor, and Simeon J. Yates. (London: Sage, 2001), 325–44. 148 Eric Andrew James recent attempts to represent Black women, whom the gaming industry has held up as emblematic of difference and diversity. 2 These attempts are marred by predictable disasters and pitfalls. In particular, I discuss how the representational politics of Black women in popular zombie dystopia games repeats a similar violence as the previous silencing of Black women in these spaces. The gaming industry’s struggles with representation in the wake of Gamergate are demonstrative of broader tensions in Black women’s representation in popular media. Thus, while I am focused on video games, I also intend this analysis to reflect on feminist studies of the relationship between genre and representation. I advance existing scholarship on video game representations of Blackness by theorizing violence enacted at the intersections of race, gender, and sexuality in game genres. Specifically, I position this intervention as a point of departure from TreaAndrea M. Russworm’s chapter in Gaming Representation: “Dystopian Blackness and the Limits of Racial Empathy in The Walking Dead and The Last of Us.”3 This chapter provides a compelling critique of the relationship between the dystopian game genre and Black representation, highlighting the lack of self-reflexivity in mass-market representations of Blackness. Expanding this project by taking another look at her objects of study—The Last of Us (2013– 2014) and Telltale’s The Walking Dead (2012)—I argue that taking Black women’s multiple jeopardy as foundational to the zombie dystopia genre offers a deeper look at the grammars of representational violence. My use of multiple jeopardy refers to Deborah K. King’s theorization of how multiple layers of oppression exponentially multiply individual disadvantages. As King describes, “The modifier ‘multiple’ refers not only to several, simultaneous oppressions but to the multiplicative 2. AnnaMaria Jackson-Phelps, “Representation Matters: Positive Portrayals of Black Women in Video Games,” Medium, February 28, 2017, https:// medium.com/legendary-women/representation-matters-positive-portrayals -of-black-women-in-video-games-c96cf9f66fdf; Jef Rouner, “Would You Believe There Have Been Only 14 Playable Black Women in Gaming?” Houston Press, June 5, 2015, https://www.houstonpress.com/arts/would-you-believethere -have-been-only-14-playable-black-women-in-gaming-7484017. 3. TreaAndrea M. Russworm, “Dystopian Blackness and the Limits of Racial Empathy in The Walking Dead and The Last of Us,” Gaming Representation: Race, Gender, and Sexuality in Video Games, ed. Jennifer Malkowski and TreaAndrea M. Russworm (Bloomington: Indiana University Press, 2017), 109–28. Eric Andrew James 149 relationships among them as well.”4 These layers of oppression are often contradictory and may leave no avenues for action; the expectations placed on one for their race become impossible to fulfill because of the contradictory expectations placed on them for their gender or sexuality. This multiple jeopardy thus introduces... (shrink)

Many consider the nature of human consciousness to be one of the last great unsolved mysteries. Why should the light turn on, so to speak, in human beings at all? And how is the electrical storm of neurons under our skull connected with our consciousness? Is the self only our brain's user interface, a kind of stage on which a show is performed that we cannot freely direct? In this book, philosopher Markus Gabriel challenges an increasing trend in the sciences (...) towards neurocentrism, a notion which rests on the assumption that the self is identical to the brain. Gabriel raises serious doubts as to whether we can know ourselves in this way. In a sharp critique of this approach, he presents a new defense of the free will and provides a timely introduction to philosophical thought about the self – all with verve, humor, and surprising insights. Gabriel criticizes the scientific image of the world and takes us on an eclectic journey of self-reflection by way of such concepts as self, consciousness, and freedom, with the aid of Kant, Schopenhauer, and Nagel but also Dr. Who, The Walking Dead, and Fargo. (shrink)

I had not meant to mystify readers by withholding any facts; it is not a writer's business to tease. The story is told through Phoenix's mind as she undertakes her errand. As the author at one with the character as I tell it, I must assume that the boy is alive. As the reader, you are free to think as you like, of course: the story invites you to believe that no matter what happens, Phoenix, for as long as she (...) is able to walk and can hold to her purpose, will make her journey. The possibility that she would keep on even if he were dead is there in her devotion and its single-minded, single-track errand. Certainly the artistic truth, which should be good enough for the fact, lies in Phoenix's own answer to that question. When the nurse asks, "He isn't dead, is he?" she speaks for herself: "He still the same. He going to last." Eudora Welty received the Pulitzer Prize in 1973 for her novel, The Optimist's Daughter. Among her other works are The Shoe Bird, Losing Battles, and One Time, One Place. (shrink)

It is widely believed that we ought not to criticize others for wrongs that we ourselves have committed. The author draws out and challenges some of the background assumptions about the practice of criticism that underlie our attraction to this claim, such as the tendency to think of criticism either as a social sanction or as a didactic intervention. The author goes on to offer a taxonomy of cases in which the moral legitimacy of criticism is challenged on the grounds (...) that the critic him- or herself engages in the behavior that he or she criticizes in others. The author argues that, in each type of case, the would-be critics should not constrain their participation in moral discourse on the grounds that they are not themselves innocent of the wrongdoing they criticize in others. (shrink)

Selected as a Financial Times Best Book of 2013Governments today in both Europe and the United States have succeeded in casting government spending as reckless wastefulness that has made the economy worse. In contrast, they have advanced a policy of draconian budget cuts--austerity--to solve the financial crisis. We are told that we have all lived beyond our means and now need to tighten our belts. This view conveniently forgets where all that debt came from. Not from an orgy of government (...) spending, but as the direct result of bailing out, recapitalizing, and adding liquidity to the broken banking system. Through these actions private debt was rechristened as government debt while those responsible for generating it walked away scot free, placing the blame on the state, and the burden on the taxpayer. That burden now takes the form of a global turn to austerity, the policy of reducing domestic wages and prices to restore competitiveness and balance the budget. The problem, according to political economist Mark Blyth, is that austerity is a very dangerous idea. First of all, it doesn't work. As the past four years and countless historical examples from the last 100 years show, while it makes sense for any one state to try and cut its way to growth, it simply cannot work when all states try it simultaneously: all we do is shrink the economy. In the worst case, austerity policies worsened the Great Depression and created the conditions for seizures of power by the forces responsible for the Second World War: the Nazis and the Japanese military establishment. As Blyth amply demonstrates, the arguments for austerity are tenuous and the evidence thin. Rather than expanding growth and opportunity, the repeated revival of this dead economic idea has almost always led to low growth along with increases in wealth and income inequality. Austerity demolishes the conventional wisdom, marshaling an army of facts to demand that we austerity for what it is, and what it costs us. (shrink)

Muslims accept the existence of prophets and the occurrence of miracles as a basis of faith. The issue whether miracles will emerge from the righteous or saints is debatable. All Islamic scholars have accepted the existence of spiritual miracles, such as the grace of Allah to his saintly servants in the form of glad tidings, peace of heart and perseverance in faith. However, the existence of sensible (ḥissī) miracles or extraordinary situations that a person would never be able to do (...) under normal circumstances such as resurrecting the dead, changing the nature of objects, talking with inanimate beings and animals, knowing the events of the unseen, reaching long distances in a short time, walking on water or in the air, etc. has been the subject of serious debate. Most notably Mutazilites as well as some Sunni scholars also rejected saintly miracles and they argued that such events could only occur for prophets -with Allah’s permission and creation- and that they were called miracles. They are also concerned that if the extraordinary acts of saints are accepted, the institution of prophecy and therefore the proof of the miracle may be harmed. One of those who accepted this view is the famous Ẓāhirī scholar Ibn Ḥazm (d. 456/1064), who grew up in Andalusia. He claimed that marvelous events would occur only on the hands of the prophets, and he argued that it cannot be possible for a rightful person, saints or wizard to do extraordinary acts. However, he considered the marvelous events attributed to some people -who were not known to be prophets in the Qur’an and hadiths- as the miracles of the prophet who lived in the period in question. Ibn Ḥazm, who accepted that extraordinary events occurred from some of the ṣaḥāba (Prophet’s companions) during the Prophet’s lifetime, claimed that it ended with the death of the Prophet. According to him, those who claim that such events took place after the Prophet Muhammad, are liars, dishonest and deceitful people. In this article, the nature and limits of miracles according to Ibn Ḥazm are discussed, and the role he assigned to miracles despite being a scholar of the ahl al-ḥadīth is evaluated. (shrink)

On July 4, 1990, while on a morning walk in southern France, Susan Brison was attacked from behind, severely beaten, sexually assaulted, strangled to unconsciousness, and left for dead. She survived, but her world was destroyed. Her training as a philosopher could not help her make sense of things, and many of her fundamental assumptions about the nature of the self and the world it inhabits were shattered.At once a personal narrative of recovery and a philosophical exploration of trauma, (...) this book examines the undoing and remaking of a self in the aftermath of violence. It explores, from an interdisciplinary perspective, memory and truth, identity and self, autonomy and community. It offers imaginative access to the experience of a rape survivor as well as a reflective critique of a society in which women routinely fear and suffer sexual violence.As Brison observes, trauma disrupts memory, severs past from present, and incapacitates the ability to envision a future. Yet the act of bearing witness, she argues, facilitates recovery by integrating the experience into the survivor's life's story. She also argues for the importance, as well as the hazards, of using first-person narratives in understanding not only trauma, but also larger philosophical questions about what we can know and how we should live.Bravely and beautifully written, Aftermath is that rare book that is an illustration of its own arguments. (shrink)