LITMIR.BIZ

Drawing freely and expertly from Continental and analytic traditions, Richard Bernstein examines a number of debates and controversies exemplified in the works of Gadamer, Habermas, Rorty, and Arendt. He argues that a «new conversation» is emerging about human rationality—a new understanding that emphasizes its practical character and has important ramifications both for thought and action.

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From the Introduction: This inquiry is concerned with the themes of praxis and action in four philosophic movements: Marxism, existentialism, pragmatism, and analytic philosophy. It is rare that these four movements are considered in a single inquiry, for there are profound differences of emphasis, focus, terminology, and approach represented by these styles of thought. Many philosophers believe that similarities among these movements are superficial and that a close examination of them will reveal only hopelessly unbridgeable cleavages. While respecting the genuine fundamental differences of these movements, this inquiry is undertaken in the spirit of showing that there are important common themes and motifs in what first appears to be a chaotic babble of voices. I intend to show that the concern with man as an agent has been a primary focal point of each of these movements and further that each contributes something permanent and important to our understanding of the nature and context of human activity.

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This is not a dry scholarly book on Zen. It is a fascinating introduction into a study of self-enlightenment and inner reason that has been a driving force of all Japanese culture. Written by Reginal Horace Blyth (1898-1964) this is a volume free of the dry pedantry that has hobbled so many well meaning French and English studies of Zen. It is free also of the breathless mystery-mongering that unfortunately has bloated American Zen.Blyth reads easily. The questions he poses; the views he offers….all lead to a sense of inner self and an awakening of an awareness of the surrounding universe and one's relationship to it.After discussing «What is Zen?» (and what isn't) Blyth sketches a history of Zen dating from 1000 B.C. to715 A.D., the year of the death of the Sixth patriarch, Huineg. With a historical background thus established, Blyth next provides translations and commentary on some of the most important and basic Zen literature in existence. For the Zen initiate then, this book is an excellent beginning. For the practitioner, further meaningful revelations await.

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This collection contains the first English translations of a group of important eighteenth-century German essays that address the question, «What is Enlightenment?» The book also includes newly translated and newly written interpretive essays by leading historians and philosophers, which examine the origins of eighteenth-century debate on Enlightenment and explore its significance for the present.<br /><br />In recent years, critics from across the political and philosophical spectrum have condemned the Enlightenment for its complicity with any number of present-day social and cultural maladies. It has rarely been noticed, however, that at the end of the Enlightenment, German thinkers had already begun a scrutiny of their age so wide-ranging that there are few subsequent criticisms that had not been considered by the close of the eighteenth century. Among the concerns these essays address are the importance of freedom of expression, the relationship between faith and reason, and the responsibility of the Enlightenment for revolutions.<br /><br />Included are translations of works by such well-known figures as Immanuel Kant, Moses Mendelssohn, Johann Gottlieb Fichte, and Johann Georg Hamann, as well as essays by thinkers whose work is virtually unknown to American readers. These eighteenth-century texts are set against interpretive essays by such major twentieth-century figures as Max Horkheimer, Jürgen Habermas, and Michel Foucault.

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Long considered «the noblest of the senses,» vision has increasingly come under critical scrutiny by a wide range of thinkers who question its dominance in Western culture. These critics of vision, especially prominent in twentieth-century France, have challenged its allegedly superior capacity to provide access to the world. They have also criticized its supposed complicity with political and social oppression through the promulgation of spectacle and surveillance.<br /><br />Martin Jay turns to this discourse surrounding vision and explores its often contradictory implications in the work of such influential figures as Jean-Paul Sartre, Maurice Merleau-Ponty, Michel Foucault, Jacques Lacan, Louis Althusser, Guy Debord, Luce Irigaray, Emmanuel Levinas, and Jacques Derrida. Jay begins with a discussion of the theory of vision from Plato to Descartes, then considers its role in the French Enlightenment before turning to its status in the culture of modernity. From consideration of French Impressionism to analysis of Georges Bataille and the Surrealists, Roland Barthes's writings on photography, and the film theory of Christian Metz, Jay provides lucid and fair-minded accounts of thinkers and ideas widely known for their difficulty.<br /><br />His book examines the myriad links between the interrogation of vision and the pervasive antihumanist, antimodernist, and counter-enlightenment tenor of much recent French thought. Refusing, however, to defend the dominant visual order, he calls instead for a plurality of «scopic regimes.» Certain to generate controversy and discussion throughout the humanities and social sciences, <i>Downcast Eyes</i> will consolidate Jay's reputation as one of today's premier cultural and intellectual historians.

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Beyond Reason&#160;relates Wagner&rsquo;s works to the philosophical and cultural ideas of his time, centering on the four music dramas he created in the second half of his career:&#160;Der Ring des Nibelungen,&#160;Tristan und Isolde,&#160;Die Meistersinger von N&uuml;rnberg, and&#160;Parsifal. Karol Berger seeks to penetrate the &ldquo;secret&rdquo; of large-scale form in Wagner&rsquo;s music dramas and to answer those critics, most prominently Nietzsche, who condemned Wagner for his putative inability to weld small expressive gestures into larger wholes. Organized by individual opera, this is essential reading for both musicologists and Wagner experts.

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Distinguished ethnomusicologist Philip V. Bohlman compiles Johann Gottfried Herder&rsquo;s writings on music and nationalism, from his early volumes of <I>Volkslieder</I> through sacred song to the essays on aesthetics late in his life, shaping them as the book on music that Herder would have written had he gathered the many strands of his musical thought into a single publication. Framed by analytical chapters and extensive introductions to each translation, this book interprets Herder&rsquo;s musings on music to think through several major questions: What meaning did religion and religious thought have for Herder? Why do the nation and nationalism acquire musical dimensions at the confluence of aesthetics and religious thought? How did his aesthetic and musical thought come to transform the way Herder understood music and nationalism and their presence in global history? Bohlman uses the mode of translation to explore Herder&rsquo;s own interpretive practice as a translator of languages and cultures, providing today&rsquo;s readers with an elegantly narrated and exceptionally curated collection of essays on music by two major intellectuals.

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Interpreting Music is a comprehensive essay on understanding musical meaning and performing music meaningfully—"interpreting music" in both senses of the term. Synthesizing and advancing two decades of highly influential work, Lawrence Kramer fundamentally rethinks the concepts of work, score, performance, performativity, interpretation, and meaning—even the very concept of music—while breaking down conventional wisdom and received ideas. Kramer argues that music, far from being closed to interpretation, is ideally open to it, and that musical interpretation is the paradigm of interpretation in general. The book illustrates the many dimensions of interpreting music through a series of case studies drawn from the classical repertoire, but its methods and principles carry over to other repertoires just as they carry beyond music by working through music to wider philosophical and cultural questions.

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Western philosophers have traditionally concentrated on theory as the means for expressing knowledge about a variety of phenomena. This absorbing book challenges this fundamental notion by showing how objects themselves, specifically scientific instruments, can express knowledge. As he considers numerous intriguing examples, Davis Baird gives us the tools to «read» the material products of science and technology and to understand their place in culture. Making a provocative and original challenge to our conception of knowledge itself, <I>Thing Knowledge </I>demands that we take a new look at theories of science and technology, knowledge, progress, and change. Baird considers a wide range of instruments, including Faraday's first electric motor, eighteenth-century mechanical models of the solar system, the cyclotron, various instruments developed by analytical chemists between 1930 and 1960, spectrometers, and more.

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An annotated edition of a classic text by South Africa's first black psychologist, a collection of essays reflecting on what it meant to be black during the apartheid years Being-Black-in-the-World , one of N. Chabani Manganyi’s first publications, was written in 1973 at a time of global socio-political change and renewed resistance to the brutality of apartheid rule and the emergence of Black Consciousness in the mid-1960s. Manganyi is one of South Africa’s most eminent intellectuals and an astute social and political observer. He has written widely on subjects relating to ethno-psychiatry, autobiography, black artists and race. In 2018 Manganyi’s memoir, Apartheid and the Making of a Black Psychologist was awarded the prestigious ASSAf (The Academy of Science of South Africa) Humanities Book Award. Publication of Being-Black-in-the-World was delayed until the young Manganyi had left the country to study at Yale University. His publishers feared that the apartheid censorship board and security forces would prohibit him from leaving the country, and perhaps even incarcerate him, for being a ‘radical revolutionary’. The book found a limited public circulation in South Africa due to this censorship and original copies were hard to come by. This new edition is an invitation to a younger generation of citizens to engage with early decolonialising thought by an eminent South African intellectual. While the essays in this book are clearly situated in the material and social conditions of that time, they also have a timelessness that speaks to our contemporary concerns regarding black subjectivity, affectivity and corporeality, the persistence of a racial (and racist) order and the possibilities of a renewed de-colonial project. Each of these short essays can be read as self-contained reflections on what it meant to be black during the apartheid years. Manganyi is a master of understatement, and yet this does not stop him from making incisive political criticisms of black subjugation under apartheid. The essays will reward close study for anyone trying to make sense of black subjectivity and the persistence of white insensitivity to black suffering. Ahead of its time, the ideas in this book are an exemplary demonstration of what a thoroughgoing and rigorous de-colonial critique should entail. The re-publication of this classic text is enriched by the inclusion of a foreword and annotation by respected scholars Garth Stevens and Grahame Hayes respectively, and an afterword by public intellectual Njabulo S. Ndebele.

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