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The Age of Minerva, Volume 1
This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.
The Self
The Self: A History explores the ways in which the concept of an 'I' or a 'self' has been developed and deployed at different times in the history of Western Philosophy. It also offers a striking contrast case, the 'interconnected' self, who appears in some expressions of African Philosophy. The I or self seems engulfed in paradoxes. We are selves and we seem to be conscious of ourselves, yet it is very difficult to say what a self is. Although we refer to ourselves, when we try to find or locate ourselves, the I seems elusive. We can find human bodies, but we do not refer to ourselves by referring to our bodies: we do not know that we are raising our hands or thinking hard by looking at our arms or catching a glimpse of our furrowed brows in a mirror. The essays in this volume engage many philosophical resources--metaphysics, epistemology, phenomenology, philosophy of psychology and philosophy of language--to try to shed needed light on these puzzles.
Mime, Music and Drama on the Eighteenth-Century Stage
The 'ballet d'action' was one of the most successful and controversial forms of theatre in the early modern period. A curious hybrid of dance, mime and music, its overall and overriding intention was to create drama. It was danced drama rather than dramatic dance, musical drama rather than dramatic music. Most modern critical studies of the ballet d'action treat it more narrowly as stage dance and very few view it as part of the history of mime. Little use has previously been made of the most revealing musical evidence. This innovative book does justice to the distinctive hybrid nature of the ballet d'action by taking a comparative approach, using contemporary literature and literary criticism, music, mime and dance from a wide range of English and European sources. Edward Nye presents a fascinating study of this important and influential part of eighteenth-century European theatre.
The Spiritual Rococo
A groundbreaking approach to Rococo religious d?r and spirituality in Europe and South America, The Spiritual Rococo addresses three basic conundrums that impede our understanding of eighteenth-century aesthetics and culture. Why did the Rococo, ostensibly the least spiritual style in the pre-Modern canon, transform into one of the world?s most important modes for adorning sacred spaces? And why is Rococo still treated as a decadent nemesis of the Enlightenment when the two had fundamental characteristics in common? This book seeks to answer these questions by treating Rococo as a global phenomenon for the first time and by exploring its moral and spiritual dimensions through the lens of pop...
The Huguenots of Paris and the Coming of Religious Freedom, 1685–1789
This book investigates the reasons why the Catholic population of Paris increasingly tolerated the minority Protestant Huguenot population between 1685 and 1789.
The Catholic Enlightenment
"Whoever needs an act of faith to elucidate an event that can be explained by reason is a fool, and unworthy of reasonable thought." This line, spoken by the notorious 18th-century libertine Giacomo Casanova, illustrates a deeply entrenched perception of religion, as prevalent today as it was hundreds of years ago. It is the sentiment behind the narrative that Catholic beliefs were incompatible with the Enlightenment ideals. Catholics, many claim, are superstitious and traditional, opposed to democracy and gender equality, and hostile to science. It may come as a surprise, then, to learn that Casanova himself was a Catholic. In The Catholic Enlightenment, Ulrich L. Lehner points to such figu...
Malleable Anatomies
An account of the practice of anatomical modelling in mid-eighteenth-century Italy, showing how anatomical models became an authoritative source of medical knowledge, but also informed social, cultural, and political developments at the crossroads of medical learning, religious ritual, antiquarian and artistic cultures, and Grand Tour spectacle.
