Twelve-year-old Conor, dealing with his mother's illness, a less-than-sympathetic grandmother, and bullying classmates, finds a most unlikely ally when a monster appears at his bedroom window. Ancient, wild, and relentless, the monster guides Conor on a journey of courage, faith, and truth.
Magical realism as a literary mode has been the cause of numerous debates since the publication of One Hundred Years of Solitude by the Colombian author Gabriel García Márquez in 1967, which the majority of critics consider to be the first magical realist novel. Magical realism has been frequently confused with fantasy and is still considered by some as the latter's branch. Though there is no unified definition of magical realism, critics have agreed upon some of the most common characteristics. The present thesis makes use of Wendy B. Faris's theoretical framework on the mode's characteristics and applies it to A Monster Calls by Patrick Ness and The Ocean at the End of the Lane by Neil Gaiman. In both novels, marvellous happenings are incorporated seamlessly into a realistic narrative, which is the basic definition of magical realism. The events are presented matter-of-factly; thus, readers perceive them as realistic. Both novels also contain the primary characteristics that define magical realism as a literary mode, according to Faris. A Monster Calls has been adapted into a movie as well as translated into Slovene as Sedem minut čez polnoč. In the translation, magical realism retains its characteristics, since it is mainly a content based literary mode. In the movie, however, visual representations of the irreducible element, i. e. the yew tree monster, offer the viewers an opportunity to perceive it as ordinary.
A Theological Perspective on Principlist Bioethics
Author: Nathan Carlin
Publisher: Oxford University Press
It is often said that bioethics emerged from theology in the 1960s, and that since then it has grown into a secular enterprise, yielding to other disciplines and professions such as philosophy and law. During the 1970s and 1980s, a kind of secularism in biomedicine and related areas was encouraged by the need for a neutral language that could provide common ground for guiding clinical practice and research protocols. Tom Beauchamp and James Childress, in their pivotal The Principles of Biomedical Ethics, achieved this neutrality through an approach that came to be known as "principlist bioethics." In Pastoral Aesthetics, Nathan Carlin critically engages Beauchamp and Childress by revisiting the role of religion in bioethics and argues that pastoral theologians can enrich moral imagination in bioethics by cultivating an aesthetic sensibility that is theologically-informed, psychologically-sophisticated, therapeutically-oriented, and experientially-grounded. To achieve these ends, Carlin employs Paul Tillich's method of correlation by positioning four principles of bioethics with four images of pastoral care, drawing on a range of sources, including painting, fiction, memoir, poetry, journalism, cultural studies, clinical journals, classic cases in bioethics, and original pastoral care conversations. What emerges is a form of interdisciplinary inquiry that will be of special interest to bioethicists, theologians, and chaplains.
November 2012 saw the joint annual conference of the British branch of the International Board on Books for Young People (IBBY UK) and the MA course at the National Centre for Research in Children’s Literature (NCRCL) at Roehampton University. The theme of the conference was the investigation of aspects of literature for children that were ‘Beyond the Book’. From woodcuts to e-books, children’s literature has always lent itself to reinterpretation and expansion. In its early days, this was achieved through different forms of retelling, through illustration and interactive illustration (pop-ups and flaps), and then through music, film, television and stage adaptation. The contributors to the 2012 conference explored the variety of means by which we transform literature intended for children, and celebrated the vibrant world of creativity that has sought, and continues to seek, different ways in which to engage young readers. Bridget Carrington and Jennifer Harding have previously collaborated as the editors of earlier IBBY UK/NCRCL MA conference proceedings: Going Graphic: Comics and Graphic Novels for Young People; Conflicts and Controversies: Challenging Children’s Literature; and It Doesn’t Have to Rhyme: Children and Poetry (Pied Piper Publishing, 2010, 2011, 2012).
In the quest for identity and healing, what belongs to the humanities and what to clinical psychology? Ginette Paris uses cogent and passionate argument as well as stories from patients to teach us to accept that the human psyche seeks to destroy relationships and lives as well as to sustain them. This is very hard to accept which is why, so often, the body has the painful and dispiriting job of showing us what our psyche refuses to see. In jargon-free language, the author describes her own story of taking a turn downwards and inwards in the search for a metaphorical personal 'death'. If this kind of mortality is not attended to, then more literal bodily ailments and actual death itself can result. Paris engages with one of the main dilemmas of contemporary psychology and psychotherapy: how to integrate findings and insights from neuroscience and medicine into an approach to healing founded upon activation of the imagination. At present, she demonstrates, what is happening is damaging to both science and imagination.
Table of Contents Foreword: Life, as Such Paola Manari Manari, Paola Todd Meyers Meyers, Todd Translators' Note by Stefanos Geroulanos and Daniela Ginsburg Introduction: Thought and the Living Pt. 1 Method 1 Experimentation in Animal Biology Pt. 2 History 2 Cell Theory Pt. 3 Philosophy 3 Aspects of Vitalism 4 Machine and Organism 5 The Living and Its Milieu 6 The Normal and the Pathological 7 Monstrosity and the Monstrous Appendixes 1 Note on the Transition from Fibrillar Theory to Cell Theory 2 Note on the Relationship Between Cell Theory and Leibniz's Philosophy 3 Extracts from the "Discours sur l'anatomie du cervcau" ("Discourse on the Anatomy of the Brain"), delivered hy Nicolas Steno in Paris in 1665 to the "Messieurs de l'Assemblee de chez Monsieur Thevenot" in Paris Notes Bibliography.
THE BOOK BEHIND THE THIRD SEASON OF GAME OF THRONES, AN ORIGINAL SERIES NOW ON HBO. Here is the third volume in George R. R. Martin’s magnificent cycle of novels that includes A Game of Thrones and A Clash of Kings. As a whole, this series comprises a genuine masterpiece of modern fantasy, bringing together the best the genre has to offer. Magic, mystery, intrigue, romance, and adventure fill these pages and transport us to a world unlike any we have ever experienced. Already hailed as a classic, George R. R. Martin’s stunning series is destined to stand as one of the great achievements of imaginative fiction. A STORM OF SWORDS Of the five contenders for power, one is dead, another in disfavor, and still the wars rage as violently as ever, as alliances are made and broken. Joffrey, of House Lannister, sits on the Iron Throne, the uneasy ruler of the land of the Seven Kingdoms. His most bitter rival, Lord Stannis, stands defeated and disgraced, the victim of the jealous sorceress who holds him in her evil thrall. But young Robb, of House Stark, still rules the North from the fortress of Riverrun. Robb plots against his despised Lannister enemies, even as they hold his sister hostage at King’s Landing, the seat of the Iron Throne. Meanwhile, making her way across a blood-drenched continent is the exiled queen, Daenerys, mistress of the only three dragons still left in the world. . . . But as opposing forces maneuver for the final titanic showdown, an army of barbaric wildlings arrives from the outermost line of civilization. In their vanguard is a horde of mythical Others--a supernatural army of the living dead whose animated corpses are unstoppable. As the future of the land hangs in the balance, no one will rest until the Seven Kingdoms have exploded in a veritable storm of swords. . . .