A SCHOLARLY BOOK REPOSITORY361 start with A start with A
Examining a broad range of works, van Alphen—a renowned art historian and cultural theorist—demonstrates how art serves a socially constructive function by actually experimenting with the parameters of thought. Employing work from artists as diverse as Picasso, Watteau, Francis Bacon, Marlene Dumas, and Matthew Barney, he shows how art confronts its viewers with the "pain points" of cultural experience-genocide, sexuality, diaspora, and transcultural identity-and thereby transforms the ways in which human existence is conceived. Van Alphen analyzes how art visually "thinks" about these difficult cultural issues, tapping into an understudied interpretation of art as the realm where ideas and values are actively created, given form, and mobilized. In this way, van Alphen's book is a work of art in itself as it educates us in a new mode of thought that will forge equally new approaches and responses to the world.
In the face of a great work of art, we so often stand mute, struck dumb. Is this a function—perhaps the first and foremost—of aesthetic experience? Or do we lack the words to say what we feel? Countering current assumptions that art is valued only according to taste or ideology, Peter de Bolla gives a voice—and vocabulary—to the wonder art can inspire. Working toward a better understanding of what it is to be profoundly moved by a work of art, he forces us to reconsider the importance of art works and the singular nature and value of our experience of them.
In many ways a "practical aesthetics," Art Matters proceeds by way of example. Through chapters attending to three works of art—Barnett Newman's painting Vir Heroicus Sublimis, pianist Glenn Gould's second recording of Bach's Goldberg Variations, and William Wordsworth's poem "We Are Seven"—de Bolla plots a personal history of aesthetic experience that opens up the general forms of art appreciation. His book invites us to a closer encounter with art, and to a deeper appreciation and clearer expression of what such an encounter might hold.
By focusing on the provincial tales as they were originally conceived--as a narrative cycle--Thompson is able to recover intertextual references that reveal Hawthorne's preoccupation with framing strategies and variations on authorial presence. The author shows how Hawthorne deliberately constructs sentimental narratives, only to deconstruct them. Thompson's analysis provides a new aesthetic context for understanding the whole shape of Hawthorne's career as well as the narrative, ethical, and historical issues within individual works.
Revisionary in its view of one of America's greatest authors, The Art of Authorial Presence also offers invaluable insight into the problems of narratology and historiography, ethics and psychology, romanticism and idealism, and the cultural myths of America.
The Art of Being is a powerful account of how the literary form of the novel reorients philosophy toward the meaning of existence. Yi-Ping Ong shows that for Kierkegaard, Sartre, and Beauvoir, the form of the novel in its classic phase yields the conditions for reconceptualizing the nature of self-knowledge, freedom, and the world. Their discovery gives rise to a radically new poetics of the nineteenth- and twentieth-century realist novel.
For the existentialists, a paradox lies at the heart of the novel. As a work of art, the novel exists as a given totality. At the same time, the capacity of the novel to compel belief in the free and independent existence of its characters depends on the absence of any perspective from which their lives may be viewed as a consummated whole. At stake in the poetics of the novel are the conditions under which knowledge of existence is possible. Ong’s reframing of foundational debates in novel theory takes us beyond old dichotomies of mind and world, interiority and totality, and form and mimesis. It illuminates existential dimensions of novelistic realism overlooked by empirical and sociological approaches.
Bringing together philosophy, novel theory, and intellectual history with groundbreaking readings of Tolstoy, Eliot, Austen, James, Flaubert, and Zola, The Art of Being reveals how the novel engages in its very form with philosophically rich notions of self-knowledge, freedom, authority, world, and the unfinished character of human life.
In The Art of Distances, Corina Stan identifies an insistent preoccupation with interpersonal distance in a strand of twentieth-century European and Anglophone literature that includes the work of George Orwell, Paul Morand, Elias Canetti, Iris Murdoch, Walter Benjamin, Annie Ernaux, Günter Grass, and Damon Galgut. Specifically, Stan shows that these authors all engage in philosophical meditations, in the realm of literary writing, on the ethical question of how to live with others and how to find an ideal interpersonal distance at historical moments when there are no obviously agreed-upon social norms for ethical behavior.
Bringing these authors into dialogue with philosophers such as Michel de Montaigne, Ralph Waldo Emerson, Friedrich Nietzsche, Sigmund Freud, Helmuth Plessner, Martin Heidegger, Jean-Luc Nancy, Emmanuel Levinas, Peter Sloterdijk, Guillaume le Blanc, and Pierre Zaoui, Stan shows how the question of the right interpersonal distance became a fundamental one for the literary authors under consideration and explores what forms and genres they proposed in order to convey the complexity of this question. Albeit unknowingly, she suggests, they are engaged in fleshing out what Roland Barthes called “a science, or perhaps an art, of distances.”
Persuasion analyzed.
Aristotle (384–322 BC), the great Greek thinker, researcher, and educator, ranks among the most important and influential figures in the history of philosophy, theology, and science. He joined Plato’s Academy in Athens in 367 and remained there for twenty years. After spending three years at the Asian court of a former pupil, Hermeias, where he married Pythias, one of Hermeias’ relations, and living for a time at Mytilene, he was appointed by Philip of Macedon in 343/2 to become tutor of his teenaged son, Alexander. After Philip’s death in 336, Aristotle became head of his own school, the Lyceum at Athens, whose followers were known as the Peripatetics. Because of anti-Macedonian feeling in Athens after Alexander’s death in 323, Aristotle withdrew to Chalcis in Euboea, where he died in 322.
Aristotle wrote voluminously on a broad range of subjects analytical, practical, and theoretical, but nearly all the works that he prepared for publication are lost; extant are lecture-materials, notes, and memoranda, some spurious. Rhetoric, a manual for public speakers, was probably composed while Aristotle was still at the Academy and Isocrates was still alive. Instead of the sophistic and Isocratean method of imitating model speeches, Aristotle devised a systematic method based in dialectic, on which he had recently written the first manual. The goal of rhetoric is to find the available means of persuasion for any given case using argument, the character of the speaker, and the emotions of the audience. Rhetoric, he says, is “a kind of offshoot from dialectic and the study of character, which is justly called the science of politics.”
This edition of Aristotle’s Rhetoric, which replaces the original Loeb edition by J. H. Freese, supplies a Greek text based on that of Rudolf Kassel, a fresh translation, and ample annotation fully current with modern scholarship.
Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BCE, was the son of Nicomachus, a physician, and Phaestis. He studied under Plato at Athens and taught there (367–47); subsequently he spent three years at the court of a former pupil, Hermeias, in Asia Minor and at this time married Pythias, one of Hermeias’s relations. After some time at Mitylene, in 343–2 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:I. Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Oeconomica (on the good of the family); Virtues and Vices.
II. Logical: Categories; On Interpretation; Analytics (Prior and Posterior); On Sophistical Refutations; Topica.
III. Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV. Metaphysics: on being as being.
V. On Art: Art of Rhetoric and Poetics.
VI. Other works including the Athenian Constitution; more works also of doubtful authorship.
VII. Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics and metaphysics.The Loeb Classical Library® edition of Aristotle is in twenty-three volumes.
Academicians and journalists in Spain and abroad have recently fastened on an emerging cluster of peninsular writers who, they argue, pertain to a discernible literary generation, provisionally referred to as Generación X. These writers are distinct from their predecessors; they and their literary texts are closely related to the specific socio-political and historical circumstances in Spain and their novels relate stories of more and less proximity, more and less responsibility, and more and less temporality. In short, they trace the temporal movement of alterity through narrative.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
People all over the world make art and take pleasure in it, and they have done so for millennia. But acknowledging that art is a universal part of human experience leads us to some big questions: Why does it exist? Why do we enjoy it? And how do the world’s different art traditions relate to art and to each other?
Art Without Borders is an extraordinary exploration of those questions, a profound and personal meditation on the human hunger for art and a dazzling synthesis of the whole range of inquiry into its significance. Esteemed thinker Ben-Ami Scharfstein’s encyclopedic erudition is here brought to bear on the full breadth of the world of art. He draws on neuroscience and psychology to understand the way we both perceive and conceive of art, including its resistance to verbal exposition. Through examples of work by Indian, Chinese, European, African, and Australianartists, Art Without Borders probes the distinction between accepting a tradition and defying it through innovation, which leads to a consideration of the notion of artistic genius. Continuing in this comparative vein, Scharfstein examines the mutual influence of European and non-European artists. Then, through a comprehensive evaluation of the world’s major art cultures, he shows how all of these individual traditions are gradually, but haltingly, conjoining into a single current of universal art. Finally, he concludes by looking at the ways empathy and intuition can allow members of one culture to appreciate the art of another.
Lucid, learned, and incomparably rich in thought and detail, Art Without Borders is a monumental accomplishment, on par with the artistic achievements Scharfstein writes about so lovingly in its pages.
Artful Truths offers a concise guide to the fundamental philosophical questions that arise when writing a literary work about your own life. Bringing a philosopher’s perspective to a general audience, Helena de Bres addresses what a memoir is, how the genre relates to fiction, memoirists’ responsibilities to their readers and subjects, and the question of why to write a memoir at all. Along the way, she delves into a wide range of philosophical issues, including the nature of the self, the limits of knowledge, the idea of truth, the obligations of friendship, the relationship between morality and art, and the question of what makes a life meaningful.
Written in a clear and conversational style, it offers a resource for those who write, teach, and study memoirs, as well as those who love to read them. With a combination of literary and philosophical knowledge, de Bres takes the many challenges directed at memoirists seriously, while ultimately standing in defense of a genre that, for all its perplexities—and maybe partly because of them—continually proves to be both beloved and valuable.
Offers a philosophical perspective on the nature and value of writing a memoir.
Artful Truths offers a concise guide to the fundamental philosophical questions that arise when writing a literary work about your own life. Bringing a philosopher’s perspective to a general audience, Helena de Bres addresses what a memoir is, how the genre relates to fiction, memoirists’ responsibilities to their readers and subjects, and the question of why to write a memoir at all. Along the way, she delves into a wide range of philosophical issues, including the nature of the self, the limits of knowledge, the idea of truth, the obligations of friendship, the relationship between morality and art, and the question of what makes a life meaningful.
Written in a clear and conversational style, it offers a resource for those who write, teach, and study memoirs, as well as those who love to read them. With a combination of literary and philosophical knowledge, de Bres takes the many challenges directed at memoirists seriously, while ultimately standing in defense of a genre that, for all its perplexities—and maybe partly because of them—continually proves to be both beloved and valuable.
Robert B. Brandom is one of the most original philosophers of our day, whose book Making It Explicit covered and extended a vast range of topics in metaphysics, epistemology, and philosophy of language--the very core of analytic philosophy. This new work provides an approachable introduction to the complex system that Making It Explicit mapped out. A tour of the earlier book's large ideas and relevant details, Articulating Reasons offers an easy entry into two of the main themes of Brandom's work: the idea that the semantic content of a sentence is determined by the norms governing inferences to and from it, and the idea that the distinctive function of logical vocabulary is to let us make our tacit inferential commitments explicit.
Brandom's work, making the move from representationalism to inferentialism, constitutes a near-Copernican shift in the philosophy of language--and the most important single development in the field in recent decades. Articulating Reasons puts this accomplishment within reach of nonphilosophers who want to understand the state of the foundations of semantics.
In Articulating the World, Joseph Rouse argues that the most pressing challenge for advocates of naturalism today is precisely this: to understand how to make sense of a scientific conception of nature as itself part of nature, scientifically understood. Drawing upon recent developments in evolutionary biology and the philosophy of science, Rouse defends naturalism in response to this challenge by revising both how we understand our scientific conception of the world and how we situate ourselves within it.
We imagine that we are both in control of and controlled by our bodies—autonomous and yet automatic. This entanglement, according to David W. Bates, emerged in the seventeenth century when humans first built and compared themselves with machines. Reading varied thinkers from Descartes to Kant to Turing, Bates reveals how time and time again technological developments offered new ways to imagine how the body’s automaticity worked alongside the mind’s autonomy. Tracing these evolving lines of thought, An Artificial History of Natural Intelligence offers a new theorization of the human as a being that is dependent on technology and produces itself as an artificial automaton without a natural, outside origin.
Engaging with long-standing debates about the nature of originality, authorship, and artists’ rights, Hick examines the philosophical challenges presented by the role of intellectual property in the artworld and vice versa. Using real-life examples of artists who have incorporated copyrighted works into their art, he explores issues of artistic creation and the nature of infringement as they are informed by analytical aesthetics and legal and critical theory. Ultimately, Artistic License provides a critical and systematic analysis of the key philosophical issues that underlie copyright policy, rethinking the relationship between artist, artwork, and the law.
“Appiah is a writer and thinker of remarkable range… [He] has packed into this short book an impressive amount of original reflection… A rich and illuminating book.”
—Thomas Nagel, New York Review of Books
Idealization is a fundamental feature of human thought. We build simplified models to make sense of the world, and life is a constant adjustment between the models we make and the realities we encounter. Our beliefs, desires, and sense of justice are bound up with these ideals, and we proceed “as if” our representations were true, while knowing they are not. In this elegant and original meditation, Kwame Anthony Appiah suggests that this instinct to idealize is not dangerous or distracting so much as it is necessary. As If explores how strategic untruth plays a critical role in far-flung areas of inquiry: decision theory, psychology, natural science, and political philosophy. A polymath who writes with mainstream clarity, Appiah defends the centrality of the imagination not just in the arts but in science, morality, and everyday life.
“Appiah is the rare public intellectual who is also a first-rate analytic philosopher, and the characteristic virtues associated with each of these identities are very much in evidence throughout the book.”
—Thomas Kelly, Notre Dame Philosophical Reviews
In 1972, philosopher of science Thomas Kuhn threw an ashtray at Errol Morris. This book is the result.
At the time, Morris was a graduate student. Now we know him as one of the most celebrated and restlessly probing filmmakers of our time, the creator of such classics of documentary investigation as The Thin Blue Line and The Fog of War. Kuhn, meanwhile, was—and, posthumously, remains—a star in his field, the author of The Structure of Scientific Revolutions, a landmark book that has sold well over a million copies and introduced the concept of “paradigm shifts” to the larger culture. And Morris thought the idea was bunk.
The Ashtray tells why—and in doing so, it makes a powerful case for Morris’s way of viewing the world, and the centrality to that view of a fundamental conception of the necessity of truth. “For me,” Morris writes, “truth is about the relationship between language and the world: a correspondence idea of truth.” He has no patience for philosophical systems that aim for internal coherence and disdain the world itself. Morris is after bigger game: he wants to establish as clearly as possible what we know and can say about the world, reality, history, our actions and interactions. It’s the fundamental desire that animates his filmmaking, whether he’s probing Robert McNamara about Vietnam or the oddball owner of a pet cemetery. Truth may be slippery, but that doesn’t mean we have to grease its path of escape through philosophical evasions. Rather, Morris argues powerfully, it is our duty to do everything we can to establish and support it.
In a time when truth feels ever more embattled, under siege from political lies and virtual lives alike, The Ashtray is a bracing reminder of its value, delivered by a figure who has, over decades, uniquely earned our trust through his commitment to truth. No Morris fan should miss it.
Since the horrific Tiananmen Square massacre in 1989, the debate on human rights in China has raged on with increasing volume and shifting context, but little real progress. In this provocative book, one of our most learned scholars of China moves beyond the political shouting match, informing and contextualizing this debate from a Confucian and a historical perspective.
"Asian Values" is a concept advanced by some authoritarian regimes to differentiate an Asian model of development, supposedly based on Confucianism, from a Western model identified with individualism, liberal democracy, and human rights. Highlighting the philosophical development of Confucianism as well as the Chinese historical experience with community organization, constitutionalism, education, and women's rights, Wm. Theodore de Bary argues that while the Confucian sense of personhood differs in some respects from Western libertarian concepts of the individual, it is not incompatible with human rights, but could, rather, enhance them.
De Bary also demonstrates that Confucian communitarianism has historically resisted state domination, and that human rights in China could be furthered by a genuine Confucian communitarianism that incorporates elements of Western civil society. With clarity and elegance, Asian Values and Human Rights broadens our perspective on the Chinese human rights debate.
Aspects of Psychologism is a penetrating look into fundamental philosophical questions of consciousness, perception, and the experience we have of our mental lives. Psychologism, in Tim Crane's formulation, presents the mind as a single subject-matter to be investigated not only empirically and conceptually but also phenomenologically: through the systematic examination of consciousness and thought from the subject's point of view.
How should we think about the mind? Analytical philosophy tends to address this question by examining the language we use to talk about our minds, and thus translates our knowledge of mind and consciousness into knowledge of the concepts which this language embodies. Psychologism rejects this approach. The philosophy of mind, Crane believes, has become too narrow in its purely conceptual focus on the logical and linguistic formulas that structure thought. We cannot assume that the categories needed to understand the mind correspond absolutely with such semantic categories. A central claim of Crane's psychologism is that intentionality--the "aboutness" or "directedness" of the mind--is essential to all mental phenomena. In addition, Crane responds to proponents of materialist doctrines about consciousness and defends the claim that perception can represent the world in a non-conceptual, non-propositional way.
Philosophers must take more seriously the findings of psychology and phenomenology, Crane contends. An investigation of mental phenomena from this broader viewpoint opens up philosophy to a more realistic and plausible account of the mind's nature.
Once upon a time, neuroscience was born. A dazzling array of neurotechnologies emerged that, according to popular belief, have finally begun to unlock the secrets of the brain. But as the brain sciences now extend into all corners of cultural, social, political, and economic life, a yet newer world has taken shape: “neuroculture,” which goes further than ever before to tackle the profound ethical implications we face in consequence.
The Assemblage Brain unveils a major new concept of sense making, one that challenges conventional scientific and philosophical understandings of the brain. Drawing on Deleuze and Guattari, Tony D. Sampson calls for a radical critical theory that operates in the interferences between philosophy, science, art, and politics. From this novel perspective the book is structured around two questions: “What can be done to a brain?” and “What can a brain do?” Sampson examines the rise of neuroeconomics in informing significant developments in computer work, marketing, and the neuropharmaceutical control of inattentiveness in the classroom. Moving beyond the neurocapitalist framework, he then reestablishes a place for proto-subjectivity in which biological and cultural distinctions are reintegrated in an understanding of the brain as an assemblage.
The Assemblage Brain unravels the conventional image of thought that underpins many scientific and philosophical accounts of how sense is produced, providing a new view of our current time in which capitalism and the neurosciences endeavor to colonize the brain.
During the late twelfth to fourteenth centuries, several precursors of what is now commonly known as Shinto came together for the first time. By focusing on Mt. Miwa in present-day Nara Prefecture and examining the worship of indigenous deities (kami) that emerged in its proximity, this book serves as a case study of the key stages of “assemblage” through which this formative process took shape. Previously unknown rituals, texts, and icons featuring kami, all of which were invented in medieval Japan under the strong influence of esoteric Buddhism, are evaluated using evidence from local and translocal ritual and pilgrimage networks, changing land ownership patterns, and a range of religious ideas and practices. These stages illuminate the medieval pedigree of Ryōbu Shintō (kami ritual worship based loosely on esoteric Buddhism’s Two Mandalas), a major precursor to modern Shinto.
In analyzing the key mechanisms for “assembling” medieval forms of kami worship, Andreeva challenges the twentieth-century master narrative of Shinto as an unbroken, monolithic tradition. By studying how and why groups of religious practitioners affiliated with different cultic sites and religious institutions responded to esoteric Buddhism’s teachings, this book demonstrates that kami worship in medieval Japan was a result of complex negotiations.
As environmental, political, and public health crises multiply on Earth, we are also at the dawn of a new space race in which governments team up with celebrity billionaires to exploit the cosmos for human gain. The best-known of these pioneers are selling different visions of the future: while Elon Musk and SpaceX seek to establish a human presence on Mars, Jeff Bezos and Blue Origin work toward moving millions of earthlings into rotating near-Earth habitats. Despite these distinctions, these two billionaires share a core utopian project: the salvation of humanity through the exploitation of space.
In Astrotopia, philosopher of science and religion Mary-Jane Rubenstein pulls back the curtain on the not-so-new myths these space barons are peddling, like growth without limit, energy without guilt, and salvation in a brand-new world. As Rubenstein reveals, we have already seen the destructive effects of this frontier zealotry in the centuries-long history of European colonialism. Much like the imperial project on Earth, this renewed effort to conquer space is presented as a religious calling: in the face of a coming apocalypse, some very wealthy messiahs are offering an other-worldly escape to a chosen few. But Rubenstein does more than expose the values of capitalist technoscience as the product of bad mythologies. She offers a vision of exploring space without reproducing the atrocities of earthly colonialism, encouraging us to find and even make stories that put cosmic caretaking over profiteering.
Something of a nomad himself, having lived in New Zealand, Sierra Leone, England, France, Australia, and the United States, Jackson is deft at capturing the ambiguities of home as a lived experience among the Warlpiri. Blending narrative ethnography, empirical research, philosophy, and poetry, he focuses on the existential meaning of being at home in the world. Here home becomes a metaphor for the intimate relationship between the part of the world a person calls "self" and the part of the world called "other." To speak of "at-homeness," Jackson suggests, implies that people everywhere try to strike a balance between closure and openness, between acting and being acted upon, between acquiescing in the given and choosing their own fate. His book is an exhilarating journey into this existential struggle, responsive at every turn to the political questions of equity and justice that such a struggle entails.
A moving depiction of an aboriginal culture at once at home and in exile, and a personal meditation on the practice of ethnography and the meaning of home in our increasingly rootless age, At Home in the World is a timely reflection on how, in defining home, we continue to define ourselves.
Against the common view, which restricts the range of reason to logic and truth-theory alone, Romano advocates "big-hearted rationality," including in it what is only ostensibly its opposite, that is, sensibility, and locating in sensibility itself the roots of the categorical forms of thought. Contrary to what was claimed by the "linguistic turn," language is not a self-enclosed domain; it cannot be conceived in its specificity unless it is led back to its origin in the pre-predicative or pre-linguistic structure of experience itself.
The state is often regarded as an abstract and neutral bureaucratic entity. Against this common sense idea, At the Heart of the State argues that it is also a concrete and situated reality, embodied in the work of its agents and inscribed in the issues of its time.
The result of a five-year investigation conducted by ten scholars, this book describes and analyses the police, the court system, the prison apparatus, the social services, and mental health facilities in France. Combining genealogy and ethnography, its authors show that these state institutions do not simply implement laws, rules and procedures: they mobilise values and affects, judgements and emotions. In other words, they reflect the morality of the state.
Of immense interest to both social scientists and political theorists, this work will make an important contribution to the ever expanding literature on the contemporary state.
Government of state and self.
Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BC, was the son of a physician. He studied under Plato at Athens and taught there (367–347); subsequently he spent three years at the court of a former pupil in Asia Minor. After some time at Mitylene, in 343–342 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.
Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:
I Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Economics (on the good of the family); On Virtues and Vices.
II Logical: Categories; Analytics (Prior and Posterior); Interpretation; Refutations used by Sophists; Topica.
III Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV Metaphysics: on being as being.
V Art: Rhetoric and Poetics.
VI Other works including the Constitution of Athens; more works also of doubtful authorship.
VII Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics, and metaphysics.
The Loeb Classical Library® edition of Aristotle is in twenty-three volumes.
For more than two thousand years, philosophers and theologians have wrestled with the irreconcilable opposition between Greek rationality (Athens) and biblical revelation (Jerusalem). In Athens and Jersusalem, Lev Shestov—an inspiration for the French existentialists and the foremost interlocutor of Edmund Husserl, Martin Heidegger, and Martin Buber during the interwar years—makes the gripping confrontation between these symbolic poles of ancient wisdom his philosophical testament, an argumentative and stylistic tour de force.
Although the Russian-born Shestov is little known in the Anglophone world today, his writings influenced many twentieth-century European thinkers, such as Albert Camus, D. H. Lawrence, Thomas Mann, Czesław Miłosz, and Joseph Brodsky. Athens and Jerusalem is Shestov’s final, groundbreaking work on the philosophy of religion from an existential perspective. This new, annotated edition of Bernard Martin’s classic translation adds references to the cited works as well as glosses of passages from the original Greek, Latin, German, and French. Athens and Jerusalem is Shestov at his most profound and most eloquent and is the clearest expression of his thought that shaped the evolution of continental philosophy and European literature in the twentieth century.
Tracing the alchemical roots of Robert Boyle’s famous mechanical philosophy, Newman shows that alchemy contributed to the mechanization of nature, a movement that lay at the very heart of scientific discovery. Boyle and his predecessors—figures like the mysterious medieval Geber or the Lutheran professor Daniel Sennert—provided convincing experimental proof that matter is made up of enduring particles at the microlevel. At the same time, Newman argues that alchemists created the operational criterion of an “atomic” element as the last point of analysis, thereby contributing a key feature to the development of later chemistry. Atomsand Alchemy thus provokes a refreshing debate about the origins of modern science and will be welcomed—and deliberated—by all who are interested in the development of scientific theory and practice.
"[O]ne leaves this book feeling enriched and challenged. Pitkin prompts us to rethink our understanding of Arendt and to demythologize the pervasive sense of political helplessness Arendt herself sought so hard to articulate. . . . [A] cause for celebration."—Peter Baehr, Times Literary Supplement
"[Arendt] is certainly among the most original and outstanding political theorists of the twentieth century. . . . It is difficult to imagine a hostile critic examining more effectively than Pitkin . . . Arendt's concept of the social, for hostility would inhibit the acquisition of the mastery of Arendt's texts that Pitkin displays at every turn."—Peter Berkowitz, New Republic
A new edition featuring Saint Augustine’s dialogue on immortality from a tenth-century Latin manuscript, accompanied by an Old English vernacular adaptation translated into modern English for the first time in a hundred years.
Around the turn of the tenth century, an anonymous scholar crafted an Old English version of Saint Augustine of Hippo’s Soliloquia, a dialogue exploring the nature of truth and the immortality of the soul. The Old English Soliloquies was, perhaps, inspired by King Alfred the Great’s mandate to translate important Latin works. It retains Augustine’s focus on the soul, but it also explores loyalty—to friends, to one’s temporal lord, and to the Lord God—and it presses toward a deeper understanding of the afterlife. Will we endure a state of impersonal and static forgetfulness, or will we retain our memories, our accrued wisdom, and our sense of individuated consciousness?
This volume presents the first English translation of the complete Old English Soliloquies to appear in more than a century. It is accompanied by a unique edition of Augustine’s Latin Soliloquia, based on a tenth-century English manuscript similar to the one used by the translator, that provides insight into the adaptation process. Both the Latin and Old English texts are newly edited.
A master of the jeweled style.
Ausonius (Decimus Magnus), ca. AD 310–ca. 395, a doctor’s son, was born at Burdigala (Bordeaux). After a good education in grammar and rhetoric and a short period during which he was an advocate, he took to teaching rhetoric in a school that he began in the University of Bordeaux in 334. Among his students was Paulinus, who was afterwards Bishop of Nola; and he seems to have become some sort of Christian himself. Thirty years later Ausonius was called by Emperor Valentinian to be tutor to Gratian, who subsequently as emperor conferred on him honors including a consulship in 379. In 383, after Gratian’s murder, Ausonius retired to Bordeaux.
Ausonius’ surviving works, some with deep feeling, some composed it seems for fun, some didactic, include much poetry: poems about himself and family, notably “The Daily Round”; epitaphs on heroes in the Trojan War, memorials on Roman emperors, and epigrams on various subjects; poems about famous cities and about friends and colleagues. “The Moselle,” a description of that river, is among the most admired of his poems. There is also an address of thanks to Gratian for the consulship.
The Loeb Classical Library edition of Ausonius is in two volumes; the second includes Eucharisticus (“Thanksgiving”) by Paulinus Pellaeus.
A master of the jeweled style.
Ausonius (Decimus Magnus), ca. AD 310–ca. 395, a doctor’s son, was born at Burdigala (Bordeaux). After a good education in grammar and rhetoric and a short period during which he was an advocate, he took to teaching rhetoric in a school that he began in the University of Bordeaux in 334. Among his students was Paulinus, who was afterwards Bishop of Nola; and he seems to have become some sort of Christian himself. Thirty years later Ausonius was called by Emperor Valentinian to be tutor to Gratian, who subsequently as emperor conferred on him honors including a consulship in 379. In 383, after Gratian’s murder, Ausonius retired to Bordeaux.
Ausonius’ surviving works, some with deep feeling, some composed it seems for fun, some didactic, include much poetry: poems about himself and family, notably “The Daily Round”; epitaphs on heroes in the Trojan War, memorials on Roman emperors, and epigrams on various subjects; poems about famous cities and about friends and colleagues. “The Moselle,” a description of that river, is among the most admired of his poems. There is also an address of thanks to Gratian for the consulship.
The Loeb Classical Library edition of Ausonius is in two volumes; the second includes Eucharisticus (“Thanksgiving”) by Paulinus Pellaeus.
Author Stuart Z. Charmé explores how debates over authenticity and struggles for recognition are a key to understanding a wide range of controversies between Orthodox and liberal Jews, Zionist and diaspora Jews, white Jews and Jews of color, as well as the status of intermarried and messianic Jews, and the impact of Jewish genetics. In addition, it discusses how and when various cultural practices and traditions such as klezmer music, Israeli folk dance, Jewish yoga and meditation, and others are recognized as authentically Jewish, or not.
Published in Vienna in 1936, The Authoritarian State by Eric Voegelin has remained virtually unknown to the public until now. Sales of the German edition were halted following the Nazi invasion of Austria in 1938, and the entire printing was later destroyed by wartime bombing. In this volume, Voegelin offers a critical examination of the most prominent European theories of state and constitutional law of the period while providing a political and historical analysis of the Austrian situation. He discusses the dismissal of Parliament in 1933, the civil war, the murder of Federal Chancellor Dollfuss, the adoption of the "Authoritarian Constitution" of 1934, and the predicament of being sandwiched between Hitler and Mussolini.
A radical critique of Hans Kelsen's pure theory of law lies at the heart of this work, marking Voegelin's definitive departure from Neo-Kantian epistemology. For the first time, Voegelin elaborates on the important distinction between theoretical concepts and political symbols as a basis for explaining the nontheoretical and speculative character of ideologies, both left and right. He shows that total and authoritarian are symbols of ideological self-interpretation that have no theoretical value, a distinction basic to his later work in The New Science of Politics.
Available for the first time in English, The Authoritarian State is a valuable addition to the Voegelin canon and to the field of intellectual history in general.
In this volume, three distinguished scholars draw on critical theory to address our current predicament. Wendy Brown, Peter E. Gordon, and Max Pensky share a conviction that critical theory retains the power to illuminate the forces producing the current political constellation as well as possible paths away from it. Brown explains how “freedom” has become a rallying cry for manifestly un-emancipatory movements; Gordon dismantles the idea that fascism is rooted in the susceptible psychology of individual citizens and reflects instead on the broader cultural and historical circumstances that lend it force; and Pensky brings together the unlikely pair of Tocqueville and Adorno to explore how democracies can buckle under internal pressure. These incisive essays do not seek to smooth over the irrationality of the contemporary world, and they do not offer the false comforts of an easy return to liberal democratic values. Rather, the three authors draw on their deep engagements with nineteenth–and twentieth–century thought to investigate the historical and political contradictions that have brought about this moment, offering fiery and urgent responses to the demands of the day.
The quixotic attempts to formulate such design processes extended modernist principles and tried to draw architecture closer to mathematics and the sciences. By focusing on design methods, and by examining evidence at a range of scales—from institutions to individual buildings—Automatic Architecture offers an alternative to narratives of this period that have presented postmodernism as a question of style, as the methods and techniques traced here have been more deeply consequential than the many stylistic shifts of the past half century. Sean Keller closes the book with an analysis of the contemporary condition, suggesting future paths for architectural practice that work through, but also beyond, the merely automatic.
Automatic Religion explores an unlikely series of episodes from the end of the nineteenth century, when crucial ideas related to automatism and, in a different realm, the study of religion were both being born. Paul Christopher Johnson draws on years of archival and ethnographic research in Brazil and France to explore the crucial boundaries being drawn at the time between humans, “nearhumans,” and automata. As agency came to take on a more central place in the philosophical, moral, and legal traditions of the West, certain classes of people were excluded as less-than-human. Tracking the circulation of ideas across the Atlantic, Johnson tests those boundaries, revealing how they were constructed on largely gendered and racial foundations. In the process, he reanimates one of the most mysterious and yet foundational questions in trans-Atlantic thought: what is agency?
Automating technologies threaten to usher in a workless future. But this can be a good thing—if we play our cards right.
Human obsolescence is imminent. The factories of the future will be dark, staffed by armies of tireless robots. The hospitals of the future will have fewer doctors, depending instead on cloud-based AI to diagnose patients and recommend treatments. The homes of the future will anticipate our wants and needs and provide all the entertainment, food, and distraction we could ever desire.
To many, this is a depressing prognosis, an image of civilization replaced by its machines. But what if an automated future is something to be welcomed rather than feared? Work is a source of misery and oppression for most people, so shouldn’t we do what we can to hasten its demise? Automation and Utopia makes the case for a world in which, free from need or want, we can spend our time inventing and playing games and exploring virtual realities that are more deeply engaging and absorbing than any we have experienced before, allowing us to achieve idealized forms of human flourishing.
The idea that we should “give up” and retreat to the virtual may seem shocking, even distasteful. But John Danaher urges us to embrace the possibilities of this new existence. The rise of automating technologies presents a utopian moment for humankind, providing both the motive and the means to build a better future.
Autonomy is a vital concept in much of modern theory, defining the Subject as capable of self-governance. Democratic theory relies on the concept of autonomy to provide justification for participatory government and the normative goal of democratic governance, which is to protect the ability of the individual to self-govern.
Offering the first examination of the concept of autonomy from a postfoundationalist perspective, The Autonomous Animal analyzes how the ideal of self-governance has shaped everyday life. Claire E. Rasmussen begins by considering the academic terrain of autonomy, then focusing on specific examples of political behavior that allow her to interrogate these theories. She demonstrates how the adolescent—a not-yet-autonomous subject—highlights how the ideal of self-governance generates practices intended to cultivate autonomy by forming the individual’s relationship to his or her body. She points up how the war on drugs rests on the perception that drug addicts are the antithesis of autonomy and thus must be regulated for their own good. Showing that the animal rights movement may challenge the distinction between human and animal, Rasmussen also examines the place of the endurance athlete in fitness culture, where self-management of the body is the exemplar of autonomous subjectivity.
Shuster uncovers dangers in the notion of autonomy as it was originally conceived by Kant. Putting Adorno into dialogue with a range of European philosophers, notably Kant, Hegel, Horkheimer, and Habermas—as well as with a variety of contemporary Anglo-American thinkers such as Richard Rorty, Stanley Cavell, John McDowell, and Robert Pippin—he illuminates Adorno’s important revisions to this fraught concept and how his different understanding of autonomous agency, fully articulated, might open up new and positive social and political possibilities. Altogether, Autonomy after Auschwitz is a meditation on modern evil and human agency, one that demonstrates the tremendous ethical stakes at the heart of philosophy.
Levine's first three essays discuss Thomas More's preoccupation with the distinction between history and fiction; Erasmus's biblical criticism and the contribution of Renaissance philology to critical method; and the way in which Renaissance rhetoric, as in Thomas Elyot's Book of the Governor, continued to inhibit the autonomy of history. He then shows how these issues persisted into the eighteenth century, even as critical method developed. He concludes with a close description of the great controversy that culminated in Edward Gibbon's day over the authenticity of a biblical text that had been used for centuries to defend the Trinity but which turned out to be a forgery. Levine shows how by then all sides were ready to concede the autonomy of history.
Here is a mystery: in 1939, when the Hollywood Studio System, at the peak of its power, produced such films as Gone with the Wind, Ninotchka, Stagecoach, The Wizard of Oz, Mr. Smith Goes to Washington, and Wuthering Heights, the movies' number-one box-office attraction was not Gable, Garbo, Wayne, Garland, Stewart, or Olivier. In 1939, 1940, and 1941, the most popular performer in the American cinema was Mickey Rooney, who owed his success primarily to a low-budget MGM series that concentrated on his character, Andy Hardy.
Here is another mystery: at some point in the past decade, film studies, once the most innovative of the humanities disciplines, began to harden into a catechism of predictable questions and answers. By committing itself exclusively to rational critique, film studies left itself overmatched by the enormously popular, seductive, and enigmatic representations that constitute the movies. And by eschewing experimentation with the forms of criticism, film studies ironically cut itself off from the new methods of research and writing prompted by the twentieth century's revolution in communications technologies.
Robert Ray's book about Andy Hardy proposes that alternative ways of thinking and writing about the movies can be derived from the humanities' equivalent of science's pure research--the avant-garde arts. Drawing on the Surrealist tradition, with its use of games, chance, fragments, anecdotes, and collage, Ray invents for film studies new forms of research that imitate the cognitive habits encouraged by photography, computers, and the cinema itself. In doing so, he reveals that even the Andy Hardy movies, a routine product of the Hollywood Studio System, were, after all, rich and mysterious.
An ethically-based approach to human relations for the media age
Otherness, alterity, the alien—over the course of the past fifty years many of us have based our hopes for more ethical relationships on concepts of difference. Combining philosophy, literary criticism, fiction, autobiography, and real and imagined correspondence, Ann Weinstone proposes that only when we stop ordering the other to be other—whether technological, animal, or simply inanimate—will we truly become posthuman.
Posthumanism has thus far focused nearly exclusively on human–technology relations. Avatar Bodies develops a posthumanist vocabulary for human-to-human relationships that turns our capacities for devotion, personality, and pleasure. Drawing on both the philosophies and practices of Indian Tantra, Weinstone argues for the impossibility of absolute otherness; we are all avatar bodies, consisting of undecidably shared gestures, skills, memories, sensations, beliefs, and affects.
Weinstone calls her book a “tantra”—by which she means a set of instructions for practices aimed at sensitizing the reader to the inherent permeability of self to other, self to world. This tantra for posthumanism elaborates devotional gestures that will expose us to more unfettered contacts and the transformative touch.
Why did abstraction dominate American art, social science, and natural science in the mid-twentieth century? Why, despite opposition, did abstraction and theoretical knowledge flourish across a diverse set of intellectual pursuits during the Cold War? In recovering the centrality of abstraction across a range of modernist projects in the United States, Alma Steingart brings mathematics back into the conversation about midcentury American intellectual thought. The expansion of mathematics in the aftermath of World War II, she demonstrates, was characterized by two opposing tendencies: research in pure mathematics became increasingly abstract and rarified, while research in applied mathematics and mathematical applications grew in prominence as new fields like operations research and game theory brought mathematical knowledge to bear on more domains of knowledge. Both were predicated on the same abstractionist conception of mathematics and were rooted in the same approach: modern axiomatics.
For American mathematicians, the humanities and the sciences did not compete with one another, but instead were two complementary sides of the same epistemological commitment. Steingart further reveals how this mathematical epistemology influenced the sciences and humanities, particularly the postwar social sciences. As mathematics changed, so did the meaning of mathematization.
Axiomatics focuses on American mathematicians during a transformative time, following a series of controversies among mathematicians about the nature of mathematics as a field of study and as a body of knowledge. The ensuing debates offer a window onto the postwar development of mathematics band Cold War epistemology writ large. As Steingart’s history ably demonstrates, mathematics is the social activity in which styles of truth—here, abstraction—become synonymous with ways of knowing.
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