Walter Kaufmann's commentary, with its many quotations from previously untranslated letters, brings to life Nietzsche as a human being and illuminates his philosophy. The book contains some of Nietzsche's most sustained discussions of art and morality, knowledge and truth, the intellectual conscience and the origin of logic.
Most of the book was written just before Thus Spoke Zarathustra, the last part five years later, after Beyond Good and Evil. We encounter Zarathustra in these pages as well as many of Nietzsche's most interesting philosophical ideas and the largest collection of his own poetry that he himself ever published.
Walter Kaufmann's English versions of Nietzsche represent one of the major translation enterprises of our time. He is the first philosopher to have translated Nietzsche's major works, and never before has a single translator given us so much of Nietzsche.
The ancients regarded rhetoric as the crowning intellectual discipline — the synthesis of logical principles and other knowledge attained from years of schooling. Modern readers will find considerable relevance in Aristotelian rhetoric and its focus on developing persuasive tools of argumentation. Aristotle's examinations of how to compose and interpret speeches offer significant insights into the language and style of contemporary communications, from advertisements to news reports and other media.
The contributors consider representations of the black queer body, black queer literature, the pedagogical implications of black queer studies, and the ways that gender and sexuality have been glossed over in black studies and race and class marginalized in queer studies. Whether exploring the closet as a racially loaded metaphor, arguing for the inclusion of diaspora studies in black queer studies, considering how the black lesbian voice that was so expressive in the 1970s and 1980s is all but inaudible today, or investigating how the social sciences have solidified racial and sexual exclusionary practices, these insightful essays signal an important and necessary expansion of queer studies.
Contributors. Bryant K. Alexander, Devon Carbado, Faedra Chatard Carpenter, Keith Clark, Cathy Cohen, Roderick A. Ferguson, Jewelle Gomez, Phillip Brian Harper, Mae G. Henderson, Sharon P. Holland, E. Patrick Johnson, Kara Keeling, Dwight A. McBride, Charles I. Nero, Marlon B. Ross, Rinaldo Walcott, Maurice O. Wallace
At once among the most widely beloved and most reviled and lampooned pop stars of the past few decades, Céline Dion's critics call her mawkish and overblown while millions of fans around the world adore her "huge pipes†? and even bigger feelings. How can anyone say which side is right?
This new, expanded edition goes even further, calling on thirteen prominent writers and musicians to respond to themes ranging from sentiment and kitsch to cultural capital and musical snobbery. The original text is followed by lively arguments and stories from Nick Hornby, Krist Novoselic, Ann Powers, Mary Gaitskill, James Franco, Sheila Heti and others.
In a new afterword, Carl Wilson examines recent cultural changes in love and hate, including the impact of technology and social media on how taste works (or doesn't) in the 21st century.
Trites argues that the development of the genre over the past thirty years is an outgrowth of postmodernism, since YA novels are, by definition, texts that interrogate the social construction of individuals. Drawing on such nineteenth-century precursors as Little Women and Adventures of Huckleberry Finn, Disturbing the Universe demonstrates how important it is to employ poststructuralist methodologies in analyzing adolescent literature, both in critical studies and in the classroom. Among the twentieth-century authors discussed are Blume, Hamilton, Hinton, Le Guin, L'Engle, and Zindel.
Trites' work has applications for a broad range of readers, including scholars of children's literature and theorists of post-modernity as well as librarians and secondary-school teachers.
Disturbing the Universe: Power and Repression in Adolescent Literature by Roberta Seelinger Trites is the winner of the 2002 Children's Literature Association's Book Award. The award is given annually in order to promote and recognize outstanding contributions to children's literature, history, scholarship, and criticisim; it is one of the highest academic honors that can accrue to an author of children's literary criticism.
Including annotated further reading at the end of each chapter, Fight Club is essential reading for anyone interested in the film, as well as those studying philosophy and film studies.
A classic of eighteenth-century thought, Friedrich Schiller’s treatise on the role of art in society ranks among German philosophy’s most profound works. In addition to its importance to the history of ideas, this 1795 essay remains relevant to our own time.
Beginning with a political analysis of contemporary society — in particular, the French Revolution and its failure to implement universal freedom — Schiller observes that people cannot transcend their circumstances without education. He conceives of art as the vehicle of education, one that can liberate individuals from the constraints and excesses of either pure nature or pure mind. Through aesthetic experience, he asserts, people can reconcile the inner antagonism between sense and intellect, nature and reason.
Schiller’s proposal of art as fundamental to the development of society and the individual is an enduringly influential concept, and this volume offers his philosophy’s clearest, most vital expression.
Called "the sleeper hit of the publishing season" (The Boston Globe), Shop Class as Soulcraft became an instant bestseller, attracting readers with its radical (and timely) reappraisal of the merits of skilled manual labor. On both economic and psychological grounds, author Matthew B. Crawford questions the educational imperative of turning everyone into a "knowledge worker," based on a misguided separation of thinking from doing. Using his own experience as an electrician and mechanic, Crawford presents a wonderfully articulated call for self-reliance and a moving reflection on how we can live concretely in an ever more abstract world.
In a series of brilliant analyses, Eagleton shows how to read with due attention to tone, rhythm, texture, syntax, allusion, ambiguity, and other formal aspects of literary works. He also examines broader questions of character, plot, narrative, the creative imagination, the meaning of fictionality, and the tension between what works of literature say and what they show. Unfailingly authoritative and cheerfully opinionated, the author provides useful commentaries on classicism, Romanticism, modernism, and postmodernism along with spellbinding insights into a huge range of authors, from Shakespeare and J. K. Rowling to Jane Austen and Samuel Beckett.
The book begins by tracing the shifting use and nature of metaphysics in the thought of Kant, Hegel, Nietzsche, Heidegger, Lyotard, Derrida, Deleuze, Nancy, Levinas, and others. Hart pays special attention to Nietzsche's famous narrative of the "will to power" -- a narrative largely adopted by the world today -- and he offers an engaging revision (though not rejection) of the genealogy of nihilism, thereby highlighting the significant "interruption" that Christian thought introduced into the history of metaphysics.
This discussion sets the stage for a retrieval of the classic Christian account of beauty and sublimity, and of the relation of both to the question of being. Written in the form of a dogmatica minora, this main section of the book offers a pointed reading of the Christian story in four moments, or parts: Trinity, creation, salvation, and eschaton. Through a combination of narrative and argument throughout, Hart ends up demonstrating the power of Christian metaphysics not only to withstand the critiques of modern and postmodern thought but also to move well beyond them.
Strikingly original and deeply rewarding, The Beauty of the Infinite is both a constructively critical account of the history of metaphysics and a compelling contribution to it.
In Unclaimed Experience, Cathy Caruth proposes that in the "widespread and bewildering experience of trauma" in our century—both in its occurrence and in our attempt to understand it—we can recognize the possibility of a history no longer based on simple models of straightforward experience and reference. Through the notion of trauma, she contends, we come to a new understanding that permits history to arise where immediate understanding is impossible. In her wide-ranging discussion, Caruth engages Freud's theory of trauma as outlined in Moses and Monotheism and Beyond the Pleasure Principle; the notion of reference and the figure of the falling body in de Man, Kleist, and Kant; the narratives of personal catastrophe in Hiroshima mon amour; and the traumatic address in Lecompte's reinterpretation of Freud's narrative of the dream of the burning child.-- Robert Jay Lifton, M.D., author of Hiroshima in America and The Protean Self
From the Hardcover edition.
Scarry argues that our responses to beauty are perceptual events of profound significance for the individual and for society. Presenting us with a rare and exceptional opportunity to witness fairness, beauty assists us in our attention to justice. The beautiful object renders fairness, an abstract concept, concrete by making it directly available to our sensory perceptions. With its direct appeal to the senses, beauty stops us, transfixes us, fills us with a "surfeit of aliveness." In so doing, it takes the individual away from the center of his or her self-preoccupation and thus prompts a distribution of attention outward toward others and, ultimately, she contends, toward ethical fairness.
Scarry, author of the landmark The Body in Pain and one of our bravest and most creative thinkers, offers us here philosophical critique written with clarity and conviction as well as a passionate plea that we change the way we think about beauty.
Moving seamlessly across genres and disciplines, Dayan considers legal practices and spiritual beliefs from medieval England, the North American colonies, and the Caribbean that have survived in our legal discourse, and she explores the civil deaths of felons and slaves through lawful repression. Tracing the legacy of slavery in the United States in the structures of the contemporary American prison system and in the administrative detention of ghostly supermax facilities, she also demonstrates how contemporary jurisprudence regarding cruel and unusual punishment prepared the way for abuses in Abu Ghraib and Guantánamo.
Using conventional historical and legal sources to answer unconventional questions, The Law Is a White Dog illuminates stark truths about civil society's ability to marginalize, exclude, and dehumanize.
As in his previous critiques, Kant seeks to establish a priori principles. The first part of this work addresses aesthetic sensibility. The human response to specific natural phenomena as beautiful, he asserts, is a recognition of nature's harmonious order that corresponds to a mental need for order. The critique's second half focuses on the apparent teleology in nature's design of organisms. The philosopher declares that the mind is predisposed to find purpose and order in nature, and this predisposition forms the main principle underlying all our judgments. Although this could be interpreted as an argument in favor of a creator, Kant insists that a supernatural dimension or the existence of God cannot be proven — such considerations lie beyond the realm of reason, solely within the province of faith.
Characterization has long been a troubled and neglected problem within literary theory. Through close readings of such novels as Pride and Prejudice, Great Expectations, and Le Père Goriot, Woloch demonstrates that the representation of any character takes place within a shifting field of narrative attention and obscurity. Each individual--whether the central figure or a radically subordinated one--emerges as a character only through his or her distinct and contingent space within the narrative as a whole. The "character-space," as Woloch defines it, marks the dramatic interaction between an implied person and his or her delimited position within a narrative structure. The organization of, and clashes between, many character-spaces within a single narrative totality is essential to the novel's very achievement and concerns, striking at issues central to narrative poetics, the aesthetics of realism, and the dynamics of literary representation.
Woloch's discussion of character-space allows for a different history of the novel and a new definition of characterization itself. By making the implied person indispensable to our understanding of literary form, this book offers a forward-looking avenue for contemporary narrative theory.
This is the first book to explore and address the myriad philosophical questions raised by the film, concerning personal identity, free will, memory, knowledge, and action. It also explores problems in aesthetics raised by the film through its narrative structure, ontology, and genre. Beginning with a helpful introduction that places the film in context and maps out its complex structure, specially commissioned chapters examine the following topics:
memory, emotion, and self-consciousness
agency, free will, and responsibility
narrative and popular cinema
the film genre of neo-noir
Memento and multimedia
Including annotated further reading at the end of each chapter, Memento is essential reading for students interested in philosophy and film studies.
Weaving between cultures and time periods, the author focuses on a remarkably wide range of theories: in the West, the Kantian notion of disinterested contemplation, Heidegger's Gelassenheit, semiotics, and pragmatism; in Japan, Zeami's notion of riken no ken, the Kyoto School's intepretation of nothingness, D. T. Suzuki's analysis of the function of no-mind, and the writings of Kuki Shuzo on Buddhist detachment. Portrait of the artist fiction by such writers as Henry James, James Joyce, Mori Ogai, and Natsume Soseki demonstrates how the main theme of detachment is expressed in literary traditions. The role of sympathy or pragmatism in relation to disinterest is examined, suggesting conflicts within or challenges to the notion of detachment.
Researchers and students in Eastern and Western areas of study, including philosophers and religionists, as well as literary and cultural critics, will deem this work an invaluable contribution to cross-cultural philosophy and literary studies.
"I have been led into an exploration of the way the social form of Elizabethan holidays contributed to the dramatic form of festive comedy. To relate this drama to holiday has proved to be the most effective way to describe its character. And this historical interplay between social and artistic form has an interest of its own: we can see here, with more clarity of outline and detail than is usually possible, how art develops underlying configurations in the social life of a culture."--C. L. Barber, in the Introduction
This new edition includes a foreword by Stephen Greenblatt, who discusses Barber's influence on later scholars and the recent critical disagreements that Barber has inspired, showing that Shakespeare's Festive Comedy is as vital today as when it was originally published.
25th Anniversary Edition of Terry Eagleton’s classic introduction to literary theory
First published in 1983, and revised in 1996 to include material on developments in feminist and cultural theory
Has served as an inspiration to generations of students and teachers
Continues to function as arguably the definitive undergraduate textbook on literary theory
Reissue includes a new foreword by Eagleton himself, reflecting on the impact and enduring success of the book, and on developments in literary theory since it was first published
Contributors. M. M. Bakhtin, John Barth, Roland Barthes, Wayne Booth, John Brenkman, Peter Brooks, Catherine Burgass, Seymour Chatman, J. Yellowlees Douglas, Rachel Blau DuPlessis, Wendy B. Faris, Barbara Foley, E. M. Forster, Joseph Frank, Joanne S. Frye, William H. Gass, Henry Louis Gates Jr., Gérard Genette, Ursula K. Heise, Michael J. Hoffman, Linda Hutcheon, Henry James, Susan S. Lanser, Helen Lock, Georg Lukács, Patrick D. Murphy, Ruth Ronen, Joseph Tabbi, Jon Thiem, Tzvetan Todorov, Virginia Woolf
Wald traces how changing ideas about disease emergence and social interaction coalesced in the outbreak narrative. She returns to the early years of microbiology—to the identification of microbes and “Typhoid Mary,” the first known healthy human carrier of typhoid in the United States—to highlight the intertwined production of sociological theories of group formation (“social contagion”) and medical theories of bacteriological infection at the turn of the twentieth century. Following the evolution of these ideas, Wald shows how they were affected by—or reflected in—the advent of virology, Cold War ideas about “alien” infiltration, science-fiction stories of brainwashing and body snatchers, and the HIV/AIDS pandemic. Contagious is a cautionary tale about how the stories we tell circumscribe our thinking about global health and human interactions as the world imagines—or refuses to imagine—the next Great Plague.
This is the first book to explore and address the philosophical aspects of Eternal Sunshine of the Spotless Mind. Beginning with a helpful introduction that places each essay in context, specially commissioned chapters examine the following topics:
philosophical issues surrounding love, friendship, affirmation and repetition
the role of memory (and the emotions) in personal identity and decision-making
the morality of imagination and ethical importance of memory
philosophical questions about self-knowledge and knowing the minds of others
the aesthetics of the film considered in relation to Gondry’s other works and issues in the philosophy of perception
Including a foreword by Michel Gondry and a list of further reading, this volume is essential reading for students interested in philosophy and film studies.
"... draws on philosophy, linguistics, sociology, anthropology and aesthetics and refers to a wide range of scholarship... raises many fascinating questions." —Language in Society
"... a major contribution to the field of semiotic studies." —Robert Scholes, Journal of Aesthetics and Art Criticism
"... the most significant text on the subject published in the English language that I know of." —Arthur Asa Berger, Journal of Communication
Eco’s treatment demonstrates his mastery of the field of semiotics. It focuses on the twin problems of the doctrine of signs—communication and signification—and offers a highly original theory of sign production, including a carefully wrought typology of signs and modes of production.
Although a historical organization is employed wherever a particular movement unfolds from earlier movements, the text's main organization is not motivated by an academic or historical treatment of the various topics. Instead, the topics themselves are of primary concern, in such a way that readers will come away with a complete overview of the canon of this highly significant area of western philosophy.
What is the nature of the relationship of Jacques Derrida and deconstruction to Edmund Husserl and phenomenology? Is deconstruction a radical departure from phenomenology or does it trace its origins to the phenomenological project? In Derrida and Husserl, Leonard Lawlor illuminates Husserl's influence on the French philosophical tradition that inspired Derrida's thought. Beginning with Eugen Fink's pivotal essay on Husserl's philosophy, Lawlor carefully reconstructs the conceptual context in which Derrida developed his interpretation of Husserl. Lawlor's investigations of the work of Jean CavaillÃ ̈s, Tran-Duc-Thao, and Jean Hyppolite, as well as recent texts by Derrida, reveal the depth of Derrida's relationship to Husserl's phenomenology. Along the way, Lawlor revisits and sheds light on the origin of many important Derridean concepts, such as deconstruction, the metaphysics of presence, diffÃ©rance, intentionality, the trace, and spectrality.
... a first-rate edition, which supersedes all other portable Peirces.... all the Peirce most people will ever need." —Louis Menand, The New York Review of Books
Volume 2 of this convenient two-volume chronological reader’s edition provides the first comprehensive anthology of the brilliant American thinker Charles Sanders Peirce’s mature philosophy. A central focus of Volume 2 is Peirce’s evolving theory of signs and its appplication to his pragmatism.
This strikingly original book provides eloquent analyses of such postmodernist feminists as Judith Butler, Donna Haraway, Norma Alarcón, and Chela Sandoval, and counters the assimilationist proposals of minority neoconservatives such as Shelby Steele and Richard Rodriguez. It advances realist proposals for multicultural education and offers an understanding of the interpretive power of Chicana feminists including Cherríe Moraga, Gloria Anzaldúa, and Helena María Viramontes. Learning from Experience enlarges our concept of identity and offers new ways to situate aspects of race, gender, class, and sexual orientation in discursive and sociopolitical contexts.
What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media.
Disparities explores contemporary 'negative' philosophies from Catherine Malabou's plasticity, Julia Kristeva's abjection and Robert Pippin's self-consciousness to the God of negative theology, new realisms and post-humanism and draws a radical line under them. Instead of establishing a dialogue with these other ideas of disparity, Slavoj Žižek wants to establish a definite departure, a totally different idea of disparity based on an imaginative dialectical materialism. This notion of rupturing what has gone before is based on a provocative reading of how philosophers can, if they're honest, engage with each other. Slavoj Žižek borrows Alain Badiou's notion that a true idea is the one that divides. Radically departing from previous formulations of negativity and disparity, Žižek employs a new kind of negativity: namely positing that when a philosopher deals with another philosopher, his or her stance is never one of dialogue, but one of division, of drawing a line that separates truth from falsity.
To support his thesis, White analyzes the complex writing styles of historians like Michelet, Ranke, Tocqueville, and Burckhardt, and philosophers of history such as Marx, Hegel, Nietzsche, and Croce. The first work in the history of historiography to concentrate on historical writing as writing, Metahistory sets out to deprive history of its status as a bedrock of factual truth, to redeem narrative as the substance of historicality, and to identify the extent to which any distinction between history and ideology on the basis of the presumed scientificity of the former is spurious.
This fortieth-anniversary edition includes a new preface in which White explains his motivation for writing Metahistory and discusses how reactions to the book informed his later writing. In a new foreword, Michael S. Roth, a former student of White’s and the current president of Wesleyan University, reflects on the significance of the book across a broad range of fields, including history, literary theory, and philosophy. This book will be of interest to anyone—in any discipline—who takes the past as a serious object of study.