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Encyclopedia of the Essay
This groundbreaking new source of international scope defines the essay as nonfictional prose texts of between one and 50 pages in length. The more than 500 entries by 275 contributors include entries on nationalities, various categories of essays such as generic (such as sermons, aphorisms), individual major works, notable writers, and periodicals that created a market for essays, and particularly famous or significant essays. The preface details the historical development of the essay, and the alphabetically arranged entries usually include biographical sketch, nationality, era, selected writings list, additional readings, and anthologies
The Theater of Truth
The Theater of Truth argues that seventeenth-century baroque and twentieth-century neobaroque aesthetics have to be understood as part of the same complex. The Neobaroque, rather than being a return to the stylistic practices of a particular time and place, should be described as the continuation of a cultural strategy produced as a response to a specific problem of thought that has beset Europe and the colonial world since early modernity. This problem, in its simplest philosophical form, concerns the paradoxical relation between appearances and what they represent. Egginton explores expressions of this problem in the art and literature of the Hispanic Baroques, new and old. He shows how the strategies of these two Baroques emerged in the political and social world of the Spanish Empire, and how they continue to be deployed in the cultural politics of the present. Further, he offers a unified theory for the relation between the two Baroques and a new vocabulary for distinguishing between their ideological values.
On the True Philosopher and the True Philosophy
On the True Philosopher and the True Philosophy: Essays on Swedenborg is a collection that seeks to reexamine the eighteenth-century Swedish philosopher and mystic Emanuel Swedenborg's place in the history of ideas, offering an important critique of a controversial and neglected thinker and positioning his theories in terms of contemporary philosophical debate.
History of Logic and Semantics
This volume pays homage to the historian of logic Angel d’Ors (1951-2012), by bringing together a set of studies that together illuminate the complex historical development of logic and semantics. Two main traditions, Aristotelian and terminist, are showcased to demonstrate the changes and confrontations that constitute this history, and a number of different authors and texts, from the Boethian reception of Aristotle to the post-medieval terminism, are discussed. Special topics dealt with include the medieval reception of ancient logic; technical tools for the medieval analysis of language; the medieval theory of consequence; the medieval practice of disputation and sophisms; and the post-medieval refinement of the terminist tools. Contributors are E.J. Ashworth, Allan Bäck, María Cerezo, Sten Ebbesen, José Miguel Gambra, C.H. Kneepkens, Kalvin Normore, Angel d’Ors, Paloma Pérez-Ilzarbe, Stephen Read, Joke Spruyt, Luisa Valente, and Mikko Yrjönsuuri. These articles were also published in Vivarium, Volume 53, Nos. 2-4 (2015).
Eugenio d'Ors (1881-1954)
A lo largo de su vida, Eugenio d’Ors, también conocido como Xenius, fue nacionalista catalán, sindicalista, monárquico y, finalmente, falangista. También fue un intelectual extraordinario, crítico de arte, escritor paciente deun dilatado Glosario en catalán y en castellano y, en definitiva, uno de los autores más interesantes de la España de la primera mitad del siglo xx. Una figura tan relevante, compleja y llena de contrastes necesitaba una biografía queexaminara de forma unitaria todas sus facetas. De un modo exhaustivo y nada complaciente, Eugenio d’Ors (1881-1953) saca a la luz al escritor brillante y original, al formidable creador de aforismos, al hombre políticamente cambiante,para reivindicar su ver dadera importancia en el contexto catalán, español y europeo del pasado siglo.
Salvador Dal’, Or the Art of Spitting on Your Mother's Portrait
Among the many books written on or by Salvador Dalí, this is the first to give a complete, well-documented picture of his life and art. Carlos Rojas's approach to Dalí is somewhere between biography, Freudian analysis, and art and literary interpretation. Dalí is haunted from earliest childhood by the specter of his elder brother who died as a toddler shortly before Dalí was conceived (both brothers and the father bore the same name), as he is haunted by the devouring phantom of his mother, that praying mantis on whose portrait he would like to spit. Dalí is seen as endlessly struggling to affirm his identity and existence. A combination of genius, madman, neurotic, and spoiled brat, Dalí is illuminated by his work, while the known facts of his life, his own writings, those of his sister, and of others, are used to analyze the paintings, which are described in considerable detail. Rojas also provides sustained analyses of Dalí's relationships, including his influential amorous and intellectual affair with Federico García Lorca.
Salvador Dalí
Discusses Dali's years in Spain and first years in Paris as a young artist, provides a detailed assessment of his revolutionary work, and shows how the stage was set for his mature artistic personality.
The Return of the Baroque in Modern Culture
The Return of the Baroque in Modern Culture explores the re-invention of the early European Baroque within the philosophical, cultural, and literary thought of postmodernism in Europe, the United States, the Caribbean, and Latin America. Gregg Lambert argues that the "return of the Baroque" expresses a principle often hidden behind the cultural logic of postmodernism in its various national and cultural incarnations, a principal often in variance with Anglo-American modernism. Writers and theorists examined include Walter Benjamin, Paul de Man, Jacques Derrida, Michel Foucault, Octavio Paz, and Cuban novelists Alejo Carpentier and Severo Sarduy. A highly original and compelling reinterpretation of modernity, The Return of the Baroque in Modern Culture answers Raymond Williams' charge to create alternative national and international accounts of aesthetic and cultural history in order to challenge the centrality of Anglo-American modernism.
