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In this innovative study, Tyler Whitney demonstrates how a transformation and militarization of the civilian soundscape in the late nineteenth and early twentieth centuries left indelible traces on the literature that defined the period. Both formally and thematically, the modernist aesthetics of Franz Kafka, Robert Musil, Detlev von Liliencron, and Peter Altenberg drew on this blurring of martial and civilian soundscapes in traumatic and performative repetitions of war. At the same time, Richard Huelsenbeck assaulted audiences in Zurich with his “sound poems,” which combined references to World War I, colonialism, and violent encounters in urban spaces with nonsensical utterances and linguistic detritus—all accompanied by the relentless beating of a drum on the stage of the Cabaret Voltaire.

Eardrums is the first book-length study to explore the relationship between acoustical modernity and German modernism, charting a literary and cultural history written in and around the eardrum. The result is not only a new way of understanding the sonic impulses behind key literary texts from the period. It also outlines an entirely new approach to the study of literature as as the interaction of text and sonic practice, voice and noise, which will be of interest to scholars across literary studies, media theory, sound studies, and the history of science.

Although it is sometimes said that Martin Heidegger’s later philosophy no longer concerned itself with the theme of authenticity so crucial to Being and Time (1927), this book argues that his interest in authenticity was always strong.

After leaving the seminary to become a philosophy student, Heidegger began to “de–mythologize” religious themes for his own philosophical purposes. Like the Christian notion of faith, Heidegger’s notion of authenticity involves relinquishing the egotistical self–understanding which blocks our openness for possibilities. Yet authenticity as “resoluteness” includes an element of voluntarism foreign to the idea of faith. Heidegger’s brief engagement with National Socialism (1933–1934) helped him to re–think the Nietzschean concept of will which had influenced his early views on authenticity. Although part of the meaning of resoluteness is to allow things to be revealed, it also suggests that an individual can somehow will to be authentic. After about 1936, Heidegger emphasized that an individual can only be released from egoism (inauthenticity) by a power which transcends him. The abiding theological issue concerning the efficacy of works as against the saving power of grace finds expression in the distinction between resoluteness and releasement.

Historically, economists have had very little to say about art: in the latter half of this century, that has begun to change. Difficult issues, like pricing and art valuation, the influence on pricing by what is fashionable in art, and the nature of the auction, have recently been tackled by economists in spite of elusive answers. Economic Engagements with Art suggests that taste and fashion in art need not be mysterious or outside rational discourse, and that they can be studied by economists to the great benefit of the discipline.
This volume, which deals mostly with painting, is divided into three sections that consider the interplay between art and economics from different perspectives. In the first section, Art and Economic Theory, economists clarify the need to construct a framework for understanding the roles of taste and fashion in art valuation. A historical view is considered in a piece about the teacher of Velasquez and artistic adviser to the Inquisition in Seville, who took into account not only market factors, like demand, but also the "truth" and the nobility of the artist’s profession and of the painting itself. Also in this section is an essay on Rousseau’s perspective on the worth of a painting based on its envy value in social circles; other contributions focus on William Stanley Jevons, a nineteenth century British political economist, whose problems with art stemmed from the uniqueness of each work, rendering definitive market and economic terms irrelevant. The second section of the book, Art and Economic Policy, looks at broader policy issues with regard to the historical role of art. Essays consider policy with respect to art exports and imports and federal patronage of the arts during theDepression; Lionel Robbins and the political economy of art; and the interplay among economy, architecture, and politics as shown in certain postwar Hilton hotels. In the final section, The Business of Art, a variety of perspectives are considered: the economics of art in early modern times, discussed in the context of both humanist and scholastic approaches; the pricing of pictures based on a study of the Smith-Reynolds connection; and the relationships between Otto Nuerath, graphic art, and the social order.
The first collaborative and historical treatment of the connection between art and economics, Economic Engagements with Art will appeal to people across, from history and economics to art history.

Contributors. Márcia Balisciano, William J. Barber, Neil de Marchi, Bertil Fridén, Crauford D. Goodwin, Guido Guerzoni, Robert J. Leonard, Harro Maas, Ernest Mathijs, Steven G. Medema, Bert Mosselmans, Zarinés Negrón, Marcia Pointon, Helen Rees, Toon van Houdt, Annabel Wharton, Sara Zablotney

Historically, economists have had very little to say about art: in the latter half of this century, that has begun to change. Difficult issues, like pricing and art valuation, the influence on pricing by what is fashionable in art, and the nature of the auction, have recently been tackled by economists in spite of elusive answers. Economic Engagements with Art suggests that taste and fashion in art need not be mysterious or outside rational discourse, and that they can be studied by economists to the great benefit of the discipline.
This volume, which deals mostly with painting, is divided into three sections that consider the interplay between art and economics from different perspectives. In the first section, Art and Economic Theory, economists clarify the need to construct a framework for understanding the roles of taste and fashion in art valuation. A historical view is considered in a piece about the teacher of Velasquez and artistic adviser to the Inquisition in Seville, who took into account not only market factors, like demand, but also the "truth" and the nobility of the artist’s profession and of the painting itself. Also in this section is an essay on Rousseau’s perspective on the worth of a painting based on its envy value in social circles; other contributions focus on William Stanley Jevons, a nineteenth century British political economist, whose problems with art stemmed from the uniqueness of each work, rendering definitive market and economic terms irrelevant. The second section of the book, Art and Economic Policy, looks at broader policy issues with regard to the historical role of art. Essays consider policy with respect to art exports and imports and federal patronage of the arts during theDepression; Lionel Robbins and the political economy of art; and the interplay among economy, architecture, and politics as shown in certain postwar Hilton hotels. In the final section, The Business of Art, a variety of perspectives are considered: the economics of art in early modern times, discussed in the context of both humanist and scholastic approaches; the pricing of pictures based on a study of the Smith-Reynolds connection; and the relationships between Otto Nuerath, graphic art, and the social order.
The first collaborative and historical treatment of the connection between art and economics, Economic Engagements with Art will appeal to people across, from history and economics to art history.

Contributors. Márcia Balisciano, William J. Barber, Neil de Marchi, Bertil Fridén, Crauford D. Goodwin, Guido Guerzoni, Robert J. Leonard, Harro Maas, Ernest Mathijs, Steven G. Medema, Bert Mosselmans, Zarinés Negrón, Marcia Pointon, Helen Rees, Toon van Houdt, Annabel Wharton, Sara Zablotney

An insightful look at representations of women’s bodies and female authority.

This work explores Edith Wharton's career-long concern with a 19th-century visual culture that limited female artistic agency and expression. Wharton repeatedly invoked the visual arts--especially painting&#151as a medium for revealing the ways that women's bodies have been represented (as passive, sexualized, infantalized, sickly, dead). Well-versed in the Italian masters, Wharton made special use of the art of the Pre-Raphaelite Brotherhood, particularly its penchant for producing not portraits of individual women but instead icons onto whose bodies male desire is superimposed.

Emily Orlando contends that while Wharton's early work presents women enshrined by men through art, the middle and later fiction shifts the seat of power to women. From Lily Bart in The House of Mirth to Undine Spragg in The Custom of the Country and Ellen Olenska in The Age of Innocence, women evolve from victims to vital agents, securing for themselves a more empowering and satisfying relationship to art and to their own identities.

Orlando also studies the lesser-known short stories and novels, revealing Wharton’s re-workings of texts by Browning, Poe, Balzac, George Eliot, Sir Joshua Reynolds, and, most significantly, Dante Gabriel Rossetti. Edith Wharton and the Visual Arts is the first extended study to examine the presence in Wharton's fiction of the Pre-Raphaelite poetry and painting of Rossetti and his muses, notably Elizabeth Siddall and Jane Morris. Wharton emerges as one of American literature's most gifted inter-textual realists, providing a vivid lens through which to view issues of power, resistance, and social change as they surface in American literature and culture.

Winner of the 1974 National Book Award

The product of many years of reflection on phenomenology, this book is a comprehensive and creative introduction to the philosophy of Edmund Husserl. Natanson uses Husserl's later work as a clue to the meaning of his entire intellectual career, showing how his earlier methodological work evolved into the search for transcendental roots and developed into a philosophy of the life-world. Phenomenology, for Natanson, emerges as a philosophy of origin, a transcendental discipline concerned with consciousness, history, and world rather than with introspection and traditional metaphysical warfare.

This volume begins to show why the current period in humanistic studies could be known as "The Age of Edward Said." The collection brings together outstanding intellectuals from the wide variety of fields to which Edward Said, the most important humanist of his generation, has made contributions: literary criticism, postcolonial studies, musicology, Middle Eastern Studies, anthropology, and journalism.

Featured is a new interview with Said, conducted by W. J. T. Mitchell, in which Said discusses the importance of the visual to his thinking, specifically the works of Goya and Caravaggio, which in turn made possible Said's valuable contributions to our understanding of photography and painting. Other contributions reflect on Said's influences on the American public sphere; the subtle personal politics that inform the relationship between music and emotion; Said's importance to a thinking about "race before racism" and the disappearance of the American; and jazz man Jim Merod reflects on Said's "sublime lyrical abstractions."

Covering with insight the many debates Said so deftly entered and formed, the distinguished contributors to this volume reflect upon his oeuvre to create an atmosphere of thoughtfulness, questioning, and interactivity.

For centuries it was believed that all matter was composed of four elements: earth, air, water, and fire in promiscuous combination, bound by love and pulled apart by strife. Elemental theory offered a mode of understanding materiality that did not center the cosmos around the human. Outgrown as a science, the elements are now what we build our houses against. Their renunciation has fostered only estrangement from the material world.

The essays collected in Elemental Ecocriticism show how elemental materiality precipitates new engagements with the ecological. Here the classical elements reveal the vitality of supposedly inert substances (mud, water, earth, air), chemical processes (fire), and natural phenomena, as well as the promise in the abandoned and the unreal (ether, phlogiston, spontaneous generation).

Decentering the human, this volume provides important correctives to the idea of the material world as mere resource. Three response essays meditate on the connections of this collaborative project to the framing of modern-day ecological concerns. A renewed intimacy with the elemental holds the potential of a more dynamic environmental ethics and the possibility of a reinvigorated materialism.

A radical reinterpretation of the origin of religion through a psychoanalytic theorization of the unknown
 
Renowned psychoanalytic philosopher Richard Boothby puts forward a novel theory of religion inspired by Jacques Lacan’s theory of das Ding, the disquieting, inaccessible dimension of fellow human beings. This notion of an unfathomable excess, originally encountered in the figure of the mother, led Lacan to break with Freud’s formulation of the Oedipus complex and underlies Lacan’s distinctive conception of unconscious dynamics. Leaning on this account, Boothby shows how our sense of the sacred arises from our relation to what we do not know.
 
Embracing the Void lays out the range of Freud’s attempts at a psychoanalytic theory of religion and then sketches the rough contours of Lacan’s contrasting approach. From there, Boothby offers the theoretical tools for interpreting the religious impulse and analyzes key religious traditions, from ancient Greek polytheism to Judaism and Christianity, and from Hinduism and Buddhism to Islam, finally turning to modern capitalist culture and the seductive deity that dominates it—money. Lucid, accessible, and compelling, the book provides a cogent intervention in one of the psychoanalytic tradition’s most contentious topics and offers a new approach to our understanding of religion.

Despite his predominance in twentieth-century philosophy, no intellectual biography of Martin Heidegger has yet appeared. This account of Heidegger's personal relations, originally published in German and extensively corrected by the author for this translation, enlarges our understanding of a complex figure.

A well-known art historian and an intimate friend of Heidegger's, Heinrich Wiegand Petzet provides a rich portrait of Heidegger that is part memoir, part biography, and part cultural history. By recounting chronologically a series of encounters between the two friends from their meeting in 1929 until the philosopher's death in 1976, as well as between Heidegger and other contemporaries, Petzet reveals not only new aspects of Heidegger's thought and attitudes toward the historical and intellectual events of his time but also the greater cultural and social context in which he articulated his thought.

Energy Culture is a provocative book about oil’s firm grip on our politics and everyday lives. It brings together essays and artwork produced in a collaborative environment to stimulate new ways of thinking and to achieve a more just and sustainable world.

The original work collected in Energy Culture creatively engages energy as a social form through lively arguments and artistic research organized around three vectors of inquiry. The first maps how fossil fuels became, and continue to be, embedded in North American society, from the ideology of tar sands reclamation projects to dreams of fiber optic cables running through the Northwest Passage. The second comprises creative and artistic responses to the dominance of fossil fuels in everyday life and to the challenge of realizing new energy cultures. The final section addresses the conceptual and political challenges posed by energy transition and calls into question established views on energy. Its contributions caution against solar capitalism, explore the politics of sabotage, and imagine an energy efficient transportation system called “the switch.” Imbued with a sense of urgency and hope, Energy Culture exposes the deep imbrications of energy and culture while pointing provocatively to ways of thinking and living otherwise.

In Entre Nous Grant Farred examines the careers of international football stars Lionel Messi and Luis Suarez, along with his own experience playing for an amateur township team in apartheid South Africa, to theorize the relationship between sports and the intertwined experiences of relation, separation, and belonging. Drawing on Jean-Luc Nancy's concept of relation and Heideggerian ontology, Farred outlines how various relationships—the significantly different relationships Messi has with his club team FC Barcelona and the Argentine national team; Farred's shifting modes of relation as he moved between his South African team and his Princeton graduate student team; and Suarez's deep bond with Uruguay's national team coach Oscar Tabarez—demonstrate the ways the politics of relation both exist within and transcend sports. Farred demonstrates that approaching sports philosophically offers particularly insightful means of understanding the nature of being in the world, thereby opening new paths for exploring how the self is constituted in its relation to the other.

Epic Landscapes is the first study devoted to architect Benjamin Henry Latrobe’s substantial artistic oeuvre from 1795, when he set sail from Britain to Virginia, to late 1798, when he relocated to Pennsylvania. Thus, this book offers the only extended consideration of Latrobe’s Virginian watercolors, including a series of complex trompe l’oeil studies and three significant illustrated manuscripts. Though Latrobe’s architecture is well known, his watercolors have received little critical attention. Epic Landscapes rediscovers Latrobe’s watercolors as an ambitious body of work and reconsiders the close relationship between the visual and spatial sensibility of these images and his architectural designs. It also offers a fresh analysis of Latrobe within the context of creative practice in the Atlantic world at the end of the eighteenth century as he explored contemporary ideas concerning the form of art for Republican society and the social impacts of revolution.

Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

However widely—and differently—Jacques Derrida may be viewed as a "foundational" French thinker, the most basic questions concerning his work still remain unanswered: Is Derrida a friend of reason, or philosophy, or rather the most radical of skeptics? Are language-related themes--writing, semiosis--his central concern, or does he really write about something else? And does his thought form a system of its own, or does it primarily consist of commentaries on individual texts? This book seeks to address these questions by returning to what it claims is essential history: the development of Derrida's core thought through his engagement with Husserlian phenomenology. Joshua Kates recasts what has come to be known as the Derrida/Husserl debate, by approaching Derrida's thought historically, through its development. Based on this developmental work, Essential History culminates by offering discrete interpretations of Derrida's two book-length 1967 texts, interpretations that elucidate the until now largely opaque relation of Derrida's interest in language to his focus on philosophical concerns.

A fundamental reinterpretation of Derrida's project and the works for which he is best known, Kates's study fashions a new manner of working with the French thinker that respects the radical singularity of his thought as well as the often different aims of those he reads. Such a view is in fact "essential" if Derrida studies are to remain a vital field of scholarly inquiry, and if the humanities, more generally, are to have access to a replenishing source of living theoretical concerns.

While the notion of the mind as information-processor—a kind of computational system—is widely accepted, many scientists and philosophers have assumed that this account of cognition shows that the mind's operations are characterizable independent of their relationship to the external world. Existential Cognition challenges the internalist view of mind, arguing that intelligence, thought, and action cannot be understood in isolation, but only in interaction with the outside world.

Arguing that the mind is essentially embedded in the external world, Ron McClamrock provides a schema that allows cognitive scientists to address such long-standing problems in artificial intelligence as the "frame" problem and the issue of "bounded" rationality. Extending this schema to cover progress in other studies of behavior, including language, vision, and action, McClamrock reinterprets the importance of the organism/environment distinction. McClamrock also considers the broader philosophical question of the place of mind in the world, particularly with regard to questions of intentionality, subjectivity, and phenomenology.

With implications for philosophy, cognitive and computer science, AI, and psychology, this book synthesizes state-of-the-art work in philosophy and cognitive science on how the mind interacts with the world to produce thoughts, ideas, and actions.

Expanding Hermeneutics examines the development of interpretation theory, emphasizing how science in practice involves and implicates interpretive processes. Ihde argues that the sciences have developed a sophisticated visual hermeneutics that produces evidence by means of imaging, visual displays, and visualizations. From this vantage point, Ihde demonstrates how interpretation is built into technologies and instruments.

A clarifying examination of Gilles Deleuze’s first book shows how he would later transform the problem of immanence into the problem of difference
 
Despite the wide reception Gilles Deleuze has received across the humanities, research on his early work has remained scant. Experience and Empiricism remedies that gap with a detailed study of Deleuze’s first book, Empiricism and Subjectivity, which is devoted to the philosophical project of David Hume. Russell Ford argues that this work is poorly understood when read simply as a stand-alone study on Hume. Its significance only becomes apparent within the context of a larger problematic that dominated, and continues to inform, modern European philosophy: the conceptual constitution of a purely immanent account of existence. While the importance of this debate is recognized in contemporary scholarship, its genealogy—including Deleuze’s place within it—has been underappreciated. This book shows how Deleuze directly engages in an ongoing debate between his teachers Jean Wahl and Jean Hyppolite over experience and empiricism, an intervention that restages the famous encounter between rationalism and empiricism that yielded Kant’s critical philosophy. What, Deleuze effectively asks, might have happened had Hume been the one roused from his empirical dogmatic slumber by the rationalist challenge of Kant?

In Experience and Judgment, Husserl explores the problems of contemporary philosophy of language and the constitution of logical forms. He argues that, even at its most abstract, logic demands an underlying theory of experience. Husserl sketches out a genealogy of logic in three parts: Part I examines prepredicative experience, Part II the structure of predicative thought as such, and Part III the origin of general conceptual thought. This volume provides an articulate restatement of many of the themes of Husserlian phenomenology.

This groundbreaking work speaks from the frontiers of philosophy. In Experiencing and the Creation of Meaning, Eugene Gendlin examines the edge of awareness, where language emerges from nonlanguage. In moving back and forth between what is already verbalized and what is as yet unarticulated, he shows how experiencing functions in the transitions between one formulation and the next. A whole array of more than logical "characteristics" enables us to examine as well as to employ this new kind of thinking, which is not merely conceptual because it begins from the intricacy of felt meaning and returns to it again and again.

Experiencing and the Creation of Meaning addressed the unavoidable variety of conceptual formulations and other questions that have now become central.

Existential philosophy has perhaps captured the public imagination more completely than any other philosophical movement in the twentieth century. But less is known about the phenomenological method lying behind existentialism. In this solid introduction to phenomenological philosophy, authors David Stewart and Algis Mickunas show that phenomenology is neither new nor bizarre but is a contemporary way of raising afresh the major problems of philosophy that have dominated the traditions of Western thought. The authors carefully lead the reader trough the maze of terminology, explaining the major problems phenomenology has treated and showing how these are a consistent extension of the traditional concerns of philosophy.

In concise, uncluttered, and straightforward terms, the history, development, and contemporary status of phenomenology is explained with a copiously annotated bibliography following each chapter. Nothing in print combines the extensive introductory materials with a guide to the massive literature that has been produced by phenomenological and existential studies.

Bringing together theorists and practitioners of psychoanalysis to interrogate Lacan’s notion of extimité

In 1960, Jacques Lacan coined the neologism extimité (extimacy) to denote a structure of subjectivity in which the most intimate, internal core is already external, thus complicating the traditional philosophical dualisms and binaries that have informed traditional notions of subjectivity. This collection is the first sustained interrogation of the concept of extimacy, comprising contributions on various topics by leading and emerging philosophers and scholars of psychoanalytic theory from around the world. This international collection also includes key perspectives from practicing psychoanalysts and presents a variety of critical inquiries into the concept of extimacy for application in multiple disciplines beyond philosophy and in an array of methodological and thematic frameworks.