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This book is an introduction to the philosophy of Arthur Schopenhauer, written in a lively, personal style. Hannan emphasizes the peculiar inconsistencies and tensions in Schopenhauer's thought--he was torn between idealism and realism, and between denial and affirmation of the individual will. In addition to providing a useful summary of Schopenhauer's main ideas, Hannan connects Schopenhauer's thought with ongoing debates in philosophy. According to Hannan, Schopenhauer was struggling half-consciously to break altogether with Kant and transcendental idealism; the anti-Kantian features of Schopenhauer's thought possess the most lasting value. Hannan defends panpsychist metaphysics of will, comparing it with contemporary views according to which causal power is metaphysically basic. Hannan also defends Schopenhauer's ethics of compassion against Kant's ethics of pure reason, and offers friendly amendments to Schopenhauer's theories of art, music, and "salvation." She also illuminates the deep connection between Schopenhauer and the early Wittgenstein, as well as Schopenhauer's influence on existentialism and psychoanalytic thought.
Film Curatorship is an experiment: a collective text, a montage of dialogues, conversations, and exchanges among four professionals representing three generations of film archivists and curators. It calls for an open philosophical and ethical debate on fundamental questions the profession must come to terms with in the twenty-first century.
In this first annotated edition of F. R. Leavis' famous critique of C. P. Snow's influential argument about 'the two cultures', Stefan Collini reappraises both its literary tactics and its purpose as cultural criticism. The edition will enable new generations of readers to understand what was at stake in the dispute and to appreciate the enduring relevance of Leavis's attack on the goal of economic growth. In his comprehensive introduction Collini situates Leavis's critique within the wider context of debates about 'modernity' and 'prosperity', not just the 'two cultures' of literature and science. Collini emphasizes the difficulties faced by the cultural critic in challenging widely-held views and offers an illuminating analysis of Leavis's style. The edition provides full notes to references and allusions in Leavis's texts.
Critique of Violence is a highly original and lucid investigation of the heated controversy between poststructuralism and critical theory. Leading theorist Beatrice Hanssen uses Walter Benjamin's essay 'Critique of Violence' as a guide to analyse the contentious debate, shifting the emphasis from struggle to dialogue between the two parties. Regarding the questions of critique and violence as the major meeting points between both traditions, Hanssen positions herself between the two in an effort to investigate what critical theory and poststructuralism have to offer each other. In the course of doing so, she assembles imaginative new readings of Benjamin, Arendt, Fanon and Foucault, and inci...
Actes du colloque tenu à Namur, en novembre 1998, réunissant des spécialistes et des collaborateurs du Patrimoine littéraire européen. Thèmes abordés : le français, langue culturelle de l'Europe; quelles sont les frontières littéraires de l'Europe ?; qu'est-ce que le patrimoine littéraire ?; les traductions littéraires, lieu de la conscience universelle.
As Edin Hajdarpasic shows, formative contestations over Bosnia and the surrounding region began well the assassination that triggered World War I, emerging with the rise of new nineteenth-century forces—Serbian and Croatian nationalisms, and Ottoman, Habsburg, Muslim, and Yugoslav political movements—that claimed this province as their own. Whose Bosnia? reveals the political pressures and moral arguments that made Bosnia a prime target of escalating nationalist activity. Hajdarpasic provides new insight into central themes of modern politics, illuminating core subjects like "the people," state-building, and national suffering. Whose Bosnia? proposes a new figure in the history of nationalism: the (br)other, a character signifying the potential of being "brother" and "Other," containing the fantasy of complete assimilation and insurmountable difference. By bringing this figure into focus, Whose Bosnia? shows nationalism to be a dynamic and open-ended force, one that eludes a clear sense of historical closure.
This book gives an overview of the crucial events that took place during the passage from the Ottoman to the Venetian rules in the Dalmatian hinterland during the Candian and Morean Wars in the second half of the 17th century. The hinterland of the capital city of the Venetian dual province of Dalmatia and Albania – the city of Zadar/Zara – has been used here as a case study to depict all the changes relating to: inhabitation, the appearance of settlements, changes in the populations and migrations, the forms and models of administrative and political institutions, specific border economies and the development of Venetian border areas through trade with the Ottomans alongside agriculture in the contado. Studied here is how the city of Zadar, whose life was organised as a typical coastal community like many in the Venetian Republic along with its contado, managed to enlarge its territory and incorporate elements of Ottoman political, administrative and cultural heritage along with thousands of Ottoman Christian subjects.
This book traces Radovan Karadžić's personal transformation from an unremarkable family man to the powerful leader of the Bosnian Serb nationalists. Based on previously unused documents and trial transcripts, this book argues that postcommunist democracy was a primary enabler of mass atrocities because it provided the means to mobilize large numbers of Bosnian Serbs for the campaign to eliminate non-Serbs from conquered land.