Michael Cameron – författare

Most readers first encounter Augustine's love for Scripture's words in the many biblical allusions of his masterwork, the Confessions. Augustine does not merely quote texts, but in many ways makes Scripture itself tell the story. In his journey from darkness to light, Augustine becomes Adam in the Garden of Eden, the Prodigal Son of Jesus' parable, the Pauline double personality at once devoted to and rebellious against God's law. Throughout he speaks the words of the Psalms as if he had written them. Crucial to Augustine's self-portrayal is his skill at transposing himself into the texts. He sees their properties and dynamics as his own, and by extension, every believing reader's own. In Christ Meets Me Everywhere, Michael Cameron argues that Augustine wanted to train readers of Scripture to transpose themselves into the texts in the same way he did, by the same process of figuration that he found at its core. Tracking Augustine's developing practice of self-transposition into the figures of the biblical texts over the course of his entire career, Cameron shows that this practice is the key to Augustine's hermeneutics.

Most readers first encounter Augustine''s love for Scripture''s words in the many biblical allusions of his masterwork, the Confessions. Augustine does not merely quote texts, but in many ways makes Scripture itself tell the story. In his journey from darkness to light, Augustine becomes Adam in the Garden of Eden, the Prodigal Son of Jesus'' parable, and the Pauline double personality at once devoted to and rebellious against God''s law. Throughout he speaks the words of the Psalms as if he had written them. Crucial to Augustine''s self-portrayal is his skill at transposing himself into the texts. He sees their properties and dynamics as his own, and by extension, every believing reader''s own. In Christ Meets Me Everywhere, Michael Cameron argues that Augustine wanted to train readers of Scripture to transpose themselves into the texts in the same way he did, by the same process of figuration that he found at Scripture''s core. Augustine discovered this skill by learning to read Scripture as a work of divine rhetoric that mirrors the humility of the human Christ who forms humble readers to ascend its spiritual heights. Tracking Augustine''s developing skill in reading Scripture''s figures as microcosms of the history of salvation during the first fifteen years of his Christian life, Cameron shows how Christ''s self-transposition into Scripture''s readers became the key to Augustine''s hermeneutics.

This Element explores the theme of 'Gothic sympathy' as it appears in a collection of 'Last Man' novels. A liminal site of both possibility and irreconcilability, Gothic sympathy at once challenges the anthropocentric bias of traditional notions of sympathetic concern, premising compassionate relations with other beings - animal, vegetal, etc. - beyond the standard measure of the liberal-humanist subject, and at the same time acknowledges the horror that is the ineluctable and untranslatable otherness accompanying, interrupting, and shaping such a sympathetic connection. Many examples of 'Last Man' fiction explore the dialectical impasse of Gothic sympathy by dramatizing complicated relationships between a lone liberal-humanist subject and other-than-human or posthuman subjects that will persist beyond humanity's extinction. Such confrontations as they appear in Mary Shelley's The Last Man, H.G. Wells's The Time Machine, and Richard Matheson's I Am Legend will be explored.

This Element explores the theme of 'Gothic sympathy' as it appears in a collection of 'Last Man' novels. A liminal site of both possibility and irreconcilability, Gothic sympathy at once challenges the anthropocentric bias of traditional notions of sympathetic concern, premising compassionate relations with other beings - animal, vegetal, etc. - beyond the standard measure of the liberal-humanist subject, and at the same time acknowledges the horror that is the ineluctable and untranslatable otherness accompanying, interrupting, and shaping such a sympathetic connection. Many examples of 'Last Man' fiction explore the dialectical impasse of Gothic sympathy by dramatizing complicated relationships between a lone liberal-humanist subject and other-than-human or posthuman subjects that will persist beyond humanity's extinction. Such confrontations as they appear in Mary Shelley's The Last Man, H.G. Wells's The Time Machine, and Richard Matheson's I Am Legend will be explored.

I don't feel sorry for myself. Today everything is all right. I look at it is this way, it can't ever be as bad as it was then...'Sean Hogan was just eight years old when he was confined in the notorious Artane Industrial School under the brutal regime of the Christian Brothers. In and out of care throughout his childhood, Sean was so badly neglected by his alcoholic parents that he never even knew what day his birthday fell on, or how old he was - things he only learned as an adult. But when he arrived at Artane, instead of receiving the care he so desperately needed, he entered into months of horrific sexual abuse at the hands of some of the brothersNow, for the first time, he feels able to tell his story - and reveal the devastating truth of what really happened in Ireland's industrial schools. In Harm's Way is a powerful and moving story of astonishing hardship and near despair, but also of triumph over terrible adversity.