Michael O'Neill

The following text is taken from the publisher's website: "Romanticism is, and always has been, one of the most hotly contested terms in literary and cultural history. Many of the writers now described as Romantic refused to be defined by the word: 'it would be such bad taste', said Byron in 1820. Lovejoy spoke of a plurality of ‘romanticisms’, born of distinct thought complexes, whilst René Wellek argued that literatures labelled Romantic indicated common conceptions. Comparably, in the post-World War II period, political commentators have seen Romanticism as either profoundly radical or deeply reactionary. This significant collection gathers key critical discussions that explore the complex and many-sided nature of the 'Romantic'. A new introduction by the editors, a full index and chronological table of contents guide the reader through the wealth of material dedicated to a term that is both extremely unstable and remarkably persistent."

In Collingwood and the Metaphysics of Experience, Guiseppina D'Oro gives a compelling case for the position that Collingwood's philosophical project is a form of descriptive metaphysics in the Kantian critical mode. For D'Oro, the unity of Collingwood's thought as a whole is not due to a particular problem Collingwood is treating, or even to the theme of history. Rather, she believes that "there is a fundamental continuity between Collingwood's early and later work, that, in its essentials, and despite substantial terminological changes, Collingwood's account of the nature of philosophical reflection remains constant". It is Collingwood's practice of philosophy in the neo-Kantian critical mode that unifies his early and later work. Under the umbrella of this theme, D'Oro discusses Collingwood's understanding of metaphysics, his attempt to find a via media between realism and idealism, his rehabilitation of the ontological argument, his supposed historicism, and his philosophy of history. The central texts that occupy the majority of D'Oro's reflection are Collingwood's Essay on Philosophical Method and Essay on Metaphysics. This focus is refreshing in that both texts are more subtle and meatier philosophical achievements than the popular Idea of History, and the contents of both are largely unknown to the wider philosophical community.

In this volume, Heinrich Meier sets out to present what is “of lasting importance in [Schmitt’s] political theology”. The four chapters seek to develop the theme of the radical “eitheror” that faces human beings in Schmitt’s thought. Meier argues the distinction between political theology and philosophy rests on their fundamental causes—faith in revelation and human wisdom. Schmitt’s political theology and the choice he sees forced on mankind derives from the eschatological view of history found in revelation, in particular the final battle with the anti-Christ. There is a fundamental existential alternative between God and the anti-Christ that has an attendant choice between political theology and political philosophy. Coupled with this treatment of the existential necessities of being human is a presentation of Schmitt’s critique of the modern liberal state and a report on his analysis of Hobbes’s Leviathan. The book concludes with a chapter entitled “History, or the Christian Epimetheus” that considers the ethical ramifications of Schmitt’s view of history and examines his thought in light of his endorsement of National Socialism and his anti-Semitism.

The aesthetic techniques used in The Expanse are indicative of the infinite space that is an essential and ever‐present character in the show. The cinematography and set design of The Expanse make extensive use of chiaroscuro—a famous artistic technique in the history of painting. For some reason, the infinity of The Expanse attracts us. The look and design of the show indulges us in an experience of the sublime. The dynamically sublime is an experience of infinite power, but not where our survival is threatened by it. The experience of the sublime is one proof of freedom. The absence of the ability to know the significance of what one does in the context of the infinite does not diminish the significance of what they do. The characters of The Expanse know this. They act because they know they must, and they have faith that what they do matters.

It's taken yoga several thousand years to make the journey from a handful of monasteries dotting the Himalayas to the yoga studios popping up everywhere. Whether bathing with holy men in the Ganges or joining the chorus of a thousand voices chanting 'om,' photographer Michael O'Neill decided to devote himself to experience and record the world of yoga at this critical juncture in its history. The result is a powerful photographic tribute to the age-old discipline turned global phenomenon, with over 250 million practitioners united in physical, spiritual, and mindful practice worldwide.