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Theology, Ethics, and Economics
Calculated Futures examines the ethical and theological underpinnings of the free-market economy, investigating not only the morality of corporations and exchange rates, but also how the politics of economics shape people as moral agents. It does this less by insisting on the unfavorable effects of capitalism, and more by drawing on theological virtues, Christian doctrines, and liturgical practices to discover what they might show us about economic exchanges. Calculated Futures seeks a way forward by engaging economics as a social scientific discipline without subordinating theology to it.
What a Teacher and a Student Learned about Life while Corresponding about Math
The Calculus of Friendship is the story of an extraordinary connection between a teacher and a student, as chronicled through more than thirty years of letters between them. What makes their relationship unique is that it is based almost entirely on a shared love of calculus. For them, calculus is more than a branch of mathematics; it is a game they love playing together, a constant when all else is in flux. The teacher goes from the prime of his career to retirement, competes in whitewater kayaking at the international level, and loses a son. The student matures from high school math whiz to Ivy League professor, suffers the sudden death of a parent, and blunders into a marriage destined to fail. Yet through it all they take refuge in the haven of calculus--until a day comes when calculus is no longer enough.
Like calculus itself, The Calculus of Friendship is an exploration of change. It's about the transformation that takes place in a student's heart, as he and his teacher reverse roles, as they age, as they are buffeted by life itself. Written by a renowned teacher and communicator of mathematics, The Calculus of Friendship is warm, intimate, and deeply moving. The most inspiring ideas of calculus, differential equations, and chaos theory are explained through metaphors, images, and anecdotes in a way that all readers will find beautiful, and even poignant. Math enthusiasts, from high school students to professionals, will delight in the offbeat problems and lucid explanations in the letters.
For anyone whose life has been changed by a mentor, The Calculus of Friendship will be an unforgettable journey.
How does cooperation emerge among selfish individuals? When do people share resources, punish those they consider unfair, and engage in joint enterprises? These questions fascinate philosophers, biologists, and economists alike, for the "invisible hand" that should turn selfish efforts into public benefit is not always at work. The Calculus of Selfishness looks at social dilemmas where cooperative motivations are subverted and self-interest becomes self-defeating. Karl Sigmund, a pioneer in evolutionary game theory, uses simple and well-known game theory models to examine the foundations of collective action and the effects of reciprocity and reputation.
Focusing on some of the best-known social and economic experiments, including games such as the Prisoner's Dilemma, Trust, Ultimatum, Snowdrift, and Public Good, Sigmund explores the conditions leading to cooperative strategies. His approach is based on evolutionary game dynamics, applied to deterministic and probabilistic models of economic interactions.
Exploring basic strategic interactions among individuals guided by self-interest and caught in social traps, The Calculus of Selfishness analyzes to what extent one key facet of human nature--selfishness--can lead to cooperation.
The Secular Plays
Although Pedro Calderón de la Barca was one of the greatest and most prolific playwrights of Spain's Golden Age, most of his nonallegorical comedias -- 118 in all -- have remained unknown. Robert ter Horst presents here the first full-length study of these works, a sustained, meditative analysis dealing with more than 80 plays, conveying a sense of the whole of Calderón's secular theater.
To approach so vast a body of literature, Mr. ter Horst examines the meaning and function in Calderón of three broad subjects -- myth, honor, and history -- the warp threads across which the playwright weaves a subtle tapestry of contrasts, dualities, and conflicts: the private person versus the public person, the inner realm versus the outer, masculine against feminine, poet against prince.
The Calderón who emerges is a consciously consummate artist whose lifelong study was the passions of the human mind and body. In addition, he is seen as a synthesizer of his Spanish literary heritage and especially as a brilliant adapter of Cervantes' insights to the stage. Robert ter Horst's profound and far-ranging analysis sheds light on many fine works previously neglected and finds new depths in such supreme achievements as No hay cosa como callar, El segundo Escipión, and La vida es suefio.
Three Comedies by Pedro Calderón de la Barca
This volume is a sequel to Four Comedies of Calderón (1980), which was hailed by reviewers as superb, faithful, and actable. The three comedies in the present volume are generally counted among Calderón's masterpieces: Casa con dos puertas mala es de guardar (A House with Two Doors Is Difficult to Guard); No hay burlas con el amor (No Trifling with Love); Mañanas de abril y mayo (Mornings of April and May). For the first time theaters will have the opportunity of staging these three masterpieces of the Golden Age drama of Spain in accurate and charming English versions. The verse used is flexible and musical, preserving the atmosphere and much of the poetic quality of the originals. An introduction deals with the characteristics of the plays and with the problems they pose for the translator. Concise explanatory notes clarify Golden Age dramatic practices.
Alegoría, seducción y resistencia en cinco autos sacramentales
Pedro Calderon de la Barca (1600-1681) is generally acknowledged to be the master author of autos sacramentales, one-act pageant plays that usually dramatize the myths of the Fall and Redemption. Since the auto was supervised by both the church and the state, it is typically held to be an art form that serves theology and the dominant powers of the time. Basing her examination of Calderon's autos on modern theories of allegory, Viviana Diaz Balsera focuses on the seductive power of the dramatic, visible level of the allegorical auto and questions the widely held assumption that Calderon's autos harmonize the dramatic and religious discourses that constitute them. In her readings of Los encantos de la Culpa, Eljardin de Falerina, La nave del Mercador, La vida es sueflo, and Lo que va del Hombre a Dios, she instead finds a disjunction between the literal, poetic level and the religious, theological meaning. With its splendid scenes, poetic fables, and elaborate music, the auto ironically has the potential to reproduce the seductive function it frequently attributes to the Devil and/or the forces of evil. Rather than the dogmatic champion of the Catholic Church, the auto emerges as conflictive, ambivalent, and moving, participating in the very dangers of sensual pleasures it seeks to warn against.
Race, Sexuality, and Mourning in the Early Era of AIDS
His world view colored by growing up in 1980s Ethiopia, where death governed time and temperament, Dagmawi Woubshet offers a startlingly fresh interpretation of melancholy and mourning during the early years of the AIDS epidemic in The Calendar of Loss. When society denies a patient’s disease and then forbids survivors mourning rites, how does a child bear witness to a parent’s death or a lover grieve for his beloved? Looking at a range of high and popular works of grief—including elegies, eulogies, epistles to the dead, funerals, and obituaries—Woubshet identifies a unique expression of mourning that emerged in the 1980s and early 1990s in direct response to the AIDS catastrophe. What Woubshet dubs a “poetics of compounding loss” expresses what it was like for queer mourners to grapple with the death of lovers and friends in rapid succession while also coming to terms with the fact of their own imminent mortality. The time, consolation, and closure that allow the bereaved to get through loss were for the mourners in this book painfully thwarted, since with each passing friend, and with mounting numbers of the dead, they were provided with yet more evidence of the certain fatality of the virus inside them. Ultimately, the book argues, these disprized mourners turned to their sorrow as a necessary vehicle of survival, placing open grief at the center of art and protest, insisting that lives could be saved through the very speech acts precipitated by death. An innovative and moving study, The Calendar of Loss illuminates how AIDS mourning confounds and traverses how we have come to think about loss and grief, insisting that the bereaved can confront death in the face of shame and stigma in eloquent ways that also imply a fierce political sensibility and a longing for justice.
Calendar of Regrets is a wildly inventive and visually rich collage of twelve interconnected narratives, one for each month of the year, all pertaining to notions of travel—through time, space, narrative, and death.