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Heavy-duty construction Features three edges: scraper blade, ice chipper blade, and squeegee Simply pull top portion out from handle, select blade, and reinsert into handle Add your custom personalization

What would you do if you were given a second chance on life from a catatonic man stuffed inside a computerized sphere? Well, that's exactly what the survivors of the first round of Gantz's wicked game have to figure out. Kei, Masaru, and the buxom Kishimoto try to reinsert themselves into their old lives. However, before any of them begins to take comfort in this fact, they're all transported back to the inescapable condo where the whole mess started. Then a new group of civilians is added into the mix. In the disorientation of the new arrivals, Gantz spills the beans on their new alien extermination target. Now, the stage is set for the next round of Gantz's little contest, but how can you win a game if you are already dead?

This commentary on the action and argument of Sophocles' Antigone is meant to be a reflection on and response to Hegel's interpretation in the Phenomenology (VI.A.a-b), and includes, in addition, two appendixes dealing with Aeschylus' Septem. It thus moves within the principles Hegel discovers in the play but reinserts them into the play as they show themselves across the eccentricities of its plot. Wherever plot and principles do not match, there is a glimmer of the argument: Haemon speaks up for the city and Tiresias for the divine law but neither for Antigone. The guard who reports the burial and presents Antigone to Creon is as important as Antigone or Creon for understanding Antigone. The Chorus too in their inconsistent thoughtfulness have to be taken into account, and in particular how their understanding of the canniness of man reveals Antigone in their very failure to count her as a sign of man's uncanniness: She who is below the horizon of their awareness is at the heart of their speech. Megareus, the older son of Creon, who sacrificed his life for the city, looms as large as Eurydice, whose suicide has nothing in common with Antigone's. She is "all-mother": Antigone is anti-generation.

This commentary on the action and argument of Sophocles' Antigone is meant to be a reflection on and response to Hegel's interpretation in the Phenomenology (VI.A.a-b), and includes, in addition, two appendixes dealing with Aeschylus' Septem. It thus moves within the principles Hegel discovers in the play but reinserts them into the play as they show themselves across the eccentricities of its plot. Wherever plot and principles do not match, there is a glimmer of the argument: Haemon speaks up for the city and Tiresias for the divine law but neither for Antigone. The guard who reports the burial and presents Antigone to Creon is as important as Antigone or Creon for understanding Antigone. The Chorus too in their inconsistent thoughtfulness have to be taken into account, and in particular how their understanding of the canniness of man reveals Antigone in their very failure to count her as a sign of man's uncanniness: She who is below the horizon of their awareness is at the heart of their speech. Megareus, the older son of Creon, who sacrificed his life for the city, looms as large as Eurydice, whose suicide has nothing in common with Antigone's. She is "all-mother": Antigone is anti-generation.

Weiser reinserts Kenneth Burke's theory of dramatism into the social milieu from which it originated, fostering a new understanding of how this concept of motivation was itself motivated by war and criticism.

This commentary on the action and argument of Sophocles' Antigone is meant to be a reflection on and response to Hegel's interpretation in the Phenomenology (VI.A.a-b), and includes, in addition, two appendixes dealing with Aeschylus' Septem. It thus moves within the principles Hegel discovers in the play but reinserts them into the play as they show themselves across the eccentricities of its plot. Wherever plot and principles do not match, there is a glimmer of the argument: Haemon speaks up for the city and Tiresias for the divine law but neither for Antigone. The guard who reports the burial and presents Antigone to Creon is as important as Antigone or Creon for understanding Antigone. The Chorus too in their inconsistent thoughtfulness have to be taken into account, and in particular how their understanding of the canniness of man reveals Antigone in their very failure to count her as a sign of man's uncanniness: She who is below the horizon of their awareness is at the heart of their speech. Megareus, the older son of Creon, who sacrificed his life for the city, looms as large as Eurydice, whose suicide has nothing in common with Antigone's. She is "all-mother": Antigone is anti-generation.