traced the origins of much of our current vocabulary and ways of
thinking about the nation back to Johann Gottfried Herder. This volume
provides a clear, readable, and reliable translation of Auch eine Philosophie der Geschichte zur Bildung der Menschheit,
supplemented by some of Herder's other important writings on politics
and history. The editors' insightful Introduction traces the role of
Herder's thought in the evolution of nationalism and highlights its
influence on fields such as history, anthropology, and politics. The
volume is designed to give English-speaking readers more ready access to
the thinker whom Isaiah Berlin called "the father of the related
notions of nationalism, historicism, and Volksgeist."
With a vivid new translation and a fascinating introduction by Gregory Moore, this edition of Herder's classic will speak to today's readers with undiminished power and persuasiveness.
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.
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.
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.
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.
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.
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.
This book relates these developments to nature, music, academe and our unquenchable human thirst for unending beauty, truth and ecstasy, a thirst quenched only at the summit of contemplative prayer here below, and in the consummation of the beatific vision hereafter.
Today, as global capitalism comes apart at the seams, we are entering a new period of transition. In Less Than Nothing, the product of a career-long focus on the part of its author, Slavoj Žižek argues it is imperative we not simply return to Hegel but that we repeat and exceed his triumphs, overcoming his limitations by being even more Hegelian than the master himself. Such an approach not only enables Žižek to diagnose our present condition, but also to engage in a critical dialogue with key strands of contemporary thought—Heidegger, Badiou, speculative realism, quantum physics, and cognitive sciences. Modernity will begin and end with Hegel.
From the Trade Paperback 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.
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.
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.
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.
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.
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.
A gorgeously unique, fully illustrated exploration into the phenomenology of reading—how we visualize images from reading works of literature, from one of our very best book jacket designers, himself a passionate reader.
What do we see when we read? Did Tolstoy really describe Anna Karenina? Did Melville ever really tell us what, exactly, Ishmael looked like? The collection of fragmented images on a page—a graceful ear there, a stray curl, a hat positioned just so—and other clues and signifiers helps us to create an image of a character. But in fact our sense that we know a character intimately has little to do with our ability to concretely picture our beloved—or reviled—literary figures. In this remarkable work of nonfiction, Knopf's Associate Art Director Peter Mendelsund combines his profession, as an award-winning designer; his first career, as a classically trained pianist; and his first love, literature—he considers himself first and foremost as a reader—into what is sure to be one of the most provocative and unusual investigations into how we understand the act of reading.
From the Trade Paperback edition.