This unique book addresses trends such as vitalism, neo-Kantianism, existentialism, Marxism and feminism, and provides concise biographies of the influential philosophers who shaped these movements, including entries on over ninety thinkers. Offers discussion and cross-referencing of ideas and figures Provides Appendix on the distinctive nature of French academic culture
Inspired by the ancient and medieval genre, A Nietzschean Bestiary gathers essays treating the most vivid and lively animal images in one of the philosophic tradition's greatest bodies of work. Leading scholars treat specific animals—such as the prowling beast of prey, Zarathustra's laughing lions, and the notorious blond beast—to ingeniously reveal how these creatures play a prominent role in the development of Nietzsche's philosophy. Numerous essays explore the nature of human animality and our relations to other animals. Contributors shed new light on Nietzsche's conception of power, freedom, and meaning. Research tools, including discussions of Nietzsche's influence on important twentieth-century philosophers and the most extensive index of animal references in Nietzsche's corpus, make this an essential volume for scholars and students alike.
The second half of the 19th Century saw a revolution in both European politics and philosophy. Philosophical fervour reflected political fervour. Five great critics dominated the European intellectual scene: Ludwig Feuerbach, Karl Marx, Soren Kierkegaard, Fyodor Dostoevsky, and Friedrich Nietzsche. "Nineteenth-Century Philosophy" assesses the response of each of these leading figures to Hegelian philosophy - the dominant paradigm of the time - to the shifting political landscape of Europe and the United States, and also to the emerging critique of modernity itself. Both individually and collectively, these thinkers succeeded in revolutionizing theology, philosophy, psychology, and politics. The period also saw the emergence of new schools of thought and new disciplinary thinking. The volume covers the birth of sociology and the social sciences, the development of French spiritualism, the beginning of American pragmatism, the rise of science and mathematics, and the maturation of hermeneutics and phenomenology.
Poststructuralism and Critical Theory's Second Generation" analyses the major themes and developments in a period that brought continental philosophy to the forefront of scholarship in a variety of humanities and social science disciplines and that set the agenda for philosophical thought on the continent and elsewhere from the 1960s to the present. Focusing on the years 1960-1984, the volume examines the major figures associated with poststructuralism and the second generation of critical theory, the two dominant movements that emerged in the 1960s: Althusser, Foucault, Deleuze, Derrida, Lyotard, Irigaray, and Habermas. Influential thinkers such as Serres, Bourdieu, and Rorty, who are not easily placed in "standard" histories of the period, are also covered. Beyond this, thematic essays engage with issues as diverse as the Nietzschean legacy, the linguistic turn in continental thinking, the phenomenological inheritance of Gadamer and Ricoeur, the influence of psychoanalysis, the emergence of feminist thought and a philosophy of sexual difference, the renewal of the critical theory tradition, and the importation of continental philosophy into literary theory.
This textbook elucidates the basic principles of behaviour that have been developed through the experimental analysis of behaviour and illustrates how those principles are encompassing an increasingly large section of the broad field of psychology. Recent changes indicate how behavioural analysis provide an account of those topics which had been seen as the exclusive domain of cognitive psychology, and enhance the claim that psychology can be seen as a biological science by demonstrating the continuity between human and non-human animal psychology.
This volume covers the period between the 1890s and 1930s, a period that witnessed revolutions in the arts and society which set the agenda for the rest of the century. In philosophy, the period saw the birth of analytic philosophy, the development of new programmes and new modes of inquiry, the emergence of phenomenology as a new rigorous science, the birth of Freudian psychoanalysis, and the maturing of the discipline of sociology. This period saw the most influential work of a remarkable series of thinkers who reviewed, evaluated and transformed 19th-century thought. A generation of thinkers - among them, Henri Bergson, Emile Durkheim, Sigmund Freud, Martin Heidegger, Edmund Husserl, Karl Jaspers, Max Scheler, and Ludwig Wittgenstein - completed the disenchantment of the world and sought a new re-enchantment.
Alan Kirk argues that memory theory, in its social, cultural, and cognitive dimensions, is able to provide a comprehensive account of the origins and history of the Jesus tradition, one capable of displacing the moribund form-critical model. He shows that memory research gives new leverage on a range of classic problems in gospels, historical Jesus, and Christian origins scholarship. This volume brings together 12 essays published between 2001 and 2016, newly revised for this edition and organized under the rubrics of: 'Memory and the Formation of the Jesus Tradition'; 'Memory and Manuscript'; 'Memory and Historical Jesus Research'; and 'Memory in 2nd Century Gospel Writing'. The introductory essay, written for this volume, argues that the old form critical model, in marginalizing memory, abandoned the one factor actually capable of accounting for the origins of the gospel tradition, its manifestation in oral and written media, and its historical trajectory.
Poststructuralism and Critical Theory's Second Generation" analyses the major themes and developments in a period that brought continental philosophy to the forefront of scholarship in a variety of humanities and social science disciplines and that set the agenda for philosophical thought on the continent and elsewhere from the 1960s to the present. Focusing on the years 1960-1984, the volume examines the major figures associated with poststructuralism and the second generation of critical theory, the two dominant movements that emerged in the 1960s: Althusser, Foucault, Deleuze, Derrida, Lyotard, Irigaray, and Habermas. Influential thinkers such as Serres, Bourdieu, and Rorty, who are not easily placed in "standard" histories of the period, are also covered. Beyond this, thematic essays engage with issues as diverse as the Nietzschean legacy, the linguistic turn in continental thinking, the phenomenological inheritance of Gadamer and Ricoeur, the influence of psychoanalysis, the emergence of feminist thought and a philosophy of sexual difference, the renewal of the critical theory tradition, and the importation of continental philosophy into literary theory.
The second half of the 19th Century saw a revolution in both European politics and philosophy. Philosophical fervour reflected political fervour. Five great critics dominated the European intellectual scene: Ludwig Feuerbach, Karl Marx, Soren Kierkegaard, Fyodor Dostoevsky, and Friedrich Nietzsche. "Nineteenth-Century Philosophy" assesses the response of each of these leading figures to Hegelian philosophy - the dominant paradigm of the time - to the shifting political landscape of Europe and the United States, and also to the emerging critique of modernity itself. Both individually and collectively, these thinkers succeeded in revolutionizing theology, philosophy, psychology, and politics. The period also saw the emergence of new schools of thought and new disciplinary thinking. The volume covers the birth of sociology and the social sciences, the development of French spiritualism, the beginning of American pragmatism, the rise of science and mathematics, and the maturation of hermeneutics and phenomenology.
Hans Magnus Enzensberger is one of the most widely read and respected writers in post-war Germany. In the present study a considerable number of his most important poems are closely analyzed, including the texts that make up his major poetic cycles, Mausoleum (1975) and Der Untergang der Titanic (1978). Central to any discussion of this highly diverse corpus is the way in which Enzensberger creates strikingly original poems on the basis of borrowed material. Der Untergang der Titanic, for example, is closely based on the famous bestseller A Night to Remember (1955) by the American writer Walter Lord and on the film of the same name by Roy Baker (1958). Enzensberger’s ?Versepos? is simply unimaginable without Lord’s book, and certain episodes represented in the poem can be fully understood only by readers who have seen the film. The appropriation of documentary material also plays an important role in the series of poems devoted to nature or science, many of which present themselves as riddles. An entire chapter is devoted to the analysis of these fascinating riddle poems. The various personages portrayed in Mausoleum comprise not only scientists, inventors, explorers, and thinkers who were responsible for truly world-changing discoveries (Gutenberg, Humboldt, and Darwin for example), but also a whole series of historical figures whose admission to this oddball pantheon is best explained by the bizarreness of their often utopian projects or by their compulsive or megalomaniacal personalities. The playful and provocative Enzensberger clearly chose several of these latter for their shock value (Raimondo di Sangro, V. M. Molotov, Ernesto Guevara de la Serna). Our reading of this collection demonstrates Enzensberger’s willingness to undermine seriousness with irony and humor, hence the presence of Dante and Marilyn Monroe on board the sinking Titanic. The final chapter examines the relation between poetry and politics and examines the notorious essay ?Gemeinplätze, die Neueste Literatur betreffend? (1968) as well as the disturbing interview with the Weimarer Beiträge (1971), in which the poet expresses his thankfully short-lived rejection of literature as art and his desire to break out of the ?Ghetto des Kulturlebens.? This chapter also discusses the influence of Bertolt Brecht. Other chapters focus on the poet’s taste for anachronism, his ?asynchronous? sensibility, and the recurrent theme of disappearance. --
Tracing its history from Moses Mendelssohn to today, Alan Levenson explores the factors that shaped what is the modern Jewish Bible and its centrality in Jewish life today. The Making of the Modern Jewish Bible explains how Jewish translators, commentators, and scholars made the Bible a keystone of Jewish life in Germany, Israel and America. Levenson argues that German Jews created a religious Bible, Israeli Jews a national Bible, and American Jews an ethnic one. In each site, scholars wrestled with the demands of the non-Jewish environment and their own indigenous traditions, trying to balance fidelity and independence from the commentaries of the rabbinic and medieval world.
Advocates of the established hypotheses on the origins of the Synoptic gospels and their interrelationships (the Synoptic Problem), and especially those defending or contesting the existence of the "source" (Q), are increasingly being called upon to justify their position with reference to ancient media practices. Still others go so far as to claim that ancient media realities force a radical rethinking of the whole project of Synoptic source criticism, and they question whether traditional documentary approaches remain valid at all. This debate has been hampered to date by the patchy reception of research on ancient media in Synoptic scholarship. Seeking to rectify this problem, Alan Kirk here mounts a defense, grounded in the practices of memory and manuscript transmission in the Roman world, of the Two Document Hypothesis. He shows how ancient media/memory approaches in fact offer new leverage on classic research problems in scholarship on the Synoptic Gospels, and that they have the potential to break the current impasse in the Synoptic Problem. The results of his analysis open up new insights to the early reception and scribal transmission of the Jesus tradition and cast new light on some long-conflicted questions in Christian origins.
Breaking a 200-year impasse on the origins of the gospels Biblical scholars want to get to the roots of the gospels—the very earliest memories of Jesus and his world. Though scholars know about all the major concepts at work—Q, the Urgospel, priority—it seems like a definitive solution to the Synoptic problem is hopelessly unattainable. Why the impasse? And where do we go from here? In Jesus Tradition, Early Christian Memory, and Gospel Writing, Alan Kirk guides us through the history of biblical scholars’ quest for the authentic source. Kirk reveals that outdated assumptions about ancient media realities have caused the past two centuries of academic deadlock. Using cutting-edge scholarship on orality, memory, and tradition formation, he shows how the origins of the gospels may be found in the memory practices of the earliest Jesus communities. Jesus Tradition, Early Christian Memory, and Gospel Writing is an essential resource for scholars and students looking to better understand this complex and rapidly changing field.
It is widely believed that the early Christians copied their texts themselves without a great deal of expertise, and that some copyists introduced changes to support their theological beliefs. In this volume, however, Alan Mugridge examines all of the extant Greek papyri bearing Christian literature up to the end of the 4th century, as well as several comparative groups of papyri, and concludes that, on the whole, Christian texts, like most literary texts in the Roman world, were copied by trained scribes. Professional Christian scribes probably became more common after the time of Constantine, but this study suggests that in the early centuries the copyists of Christian texts in Greek were normally trained scribes, Christian or not, who reproduced those texts as part of their trade and, while they made mistakes, copied them as accurately as any other texts they were called upon to copy.
On November 7, 1938, a Jewish teenager, Herschel Grynszpan, fatally shot a German diplomat in Paris. Within three days anti-Jewish violence erupted throughout Germany, initially incited by local Nazi officials, and ultimately sanctioned by the decisions of Hitler and Goebbels at the pinnacle of the Third Reich. As synagogues burned and Jews were beaten in the streets, police stood aside. Men, women, and children—many neighbors of the victims—participated enthusiastically in acts of violence, rituals of humiliation, and looting. By the night of November 10, a nationwide antisemitic pogrom had inflicted massive destruction on synagogues, Jewish schools, and Jewish-owned businesses. During and after this spasm of violence and plunder, 30,000 Jewish men were rounded up and sent to concentration camps, where hundreds would perish in the following months. Kristallnacht revealed to the world the intent and extent of Nazi Judeophobia. However, it was seen essentially as the work of the Nazi leadership. Now, Alan Steinweis counters that view in his vision of Kristallnacht as a veritable pogrom—a popular cathartic convulsion of antisemitic violence that was manipulated from above but executed from below by large numbers of ordinary Germans rioting in the streets, heckling and taunting Jews, cheering Stormtroopers' hostility, and looting Jewish property on a massive scale. Based on original research in the trials of the pogrom's perpetrators and the testimonies of its Jewish survivors, Steinweis brings to light the evidence of mob action by all sectors of the civilian population. Kristallnacht 1938 reveals the true depth and nature of popular antisemitism in Nazi Germany on the eve of the Holocaust.
This bibliography lists some 1300 works, most of which are annotated, that are germane for the interpretation of 1 and 2 Thessalonians. It includes all relevant works written in the 20th century as well as a sizeable number of important sources from the 19th century.
A unique look at how Futurism influenced and changed twentieth-century graphic design In the early decades of the twentieth century, European artists, poets, and designers called for the destruction of outdated assumptions about vision and language. Numerous manifestos resulted, demanding new artistic forms. None of these manifestos was more aggressive and poetic, or wider in scope than Filippo Tomasso Marinetti's Futurist Manifesto of 1909. Painting, sculpture, literature, architecture, theatre, cinema, and music were all caught up in its net. Typography--until then a distant relative in the arts--also played a major role in Marinetti's program. Written by leading design scholar Alan Bartram, this fascinating book examines the rise and evolution of the Futurists' approach to typography and graphic design, placing it within the context of contemporary artistic and literary movements. The volume features examples of some eighty Futurist books or other designs for print, many of them relatively unknown or previously unpublished, accompanied by new translations of over twenty of the featured texts. Bartram illuminates the complicated meanings of the Futurist designers' graphic works in order to provide a new understanding of their extraordinary and influential visual language.
The results and implications of Tyson's work on Mozart have had a profound impact on virtually every aspect of research on this composer. This book assembles his major articles, previously scattered through magazines, journals, and festschrifts, plus two unpublished pieces, into a treasure trove for musicologists and music lovers.
This book maps the relationship between Matthew's Gospel and the Didache. No consensus regarding the nature of this relationship has yet been achieved, neither has serious consideration been given to the possibility that Matthew depended directly on the Didache. If it may be shown that such was the case, then this infamously enigmatic text may finally be used to answer a series of tantalizing questions: what is the pattern of the Synoptic relationships? How did the earliest Jewish Christians incorporate Gentiles? What was the shape of Eucharistic worship in the first century?
A stimulating survey of how the Bauhaus and the modernist revolution have shaped graphic design. This lively and authoritative book explores the influence of the Bauhaus and modernism on typography and book design. Distinguished book designer and author Alan Bartram examines work by such key figures as Max Bill, F. T. Marinetti, El Lissitzky, Laszlo Moholy-Nagy, Jan Tschichold, and Paul Rand. All of the carefully chosen examples--some of which have not been previously reproduced--clearly demonstrate the modernist revolution that took place in graphic design. In an informative introductory essay, Bartram surveys the German art and design school known as the Bauhaus. Under Walter Gropius, the Bauhaus intended to create an academic, theoretical, and practical synthesis of all forms of visual expression--a marrying of art, architecture, industry, and design that had never been attempted before. Although the Bauhaus existed for only fourteen years, from 1920 to 1934, Bartram asserts that its philosophy influenced the appearance of almost every kind of modernist artifact throughout the twentieth century and continues to do so today. Engagingly written and handsomely illustrated, this volume is a valuable resource for designers and book lovers everywhere.
This unique exploration of fifth-century christological expression offers a re-reading of Cyril of Alexandria s christology at the nexus of confession and illustration, addressing the roles of philosophy and Scripture, examining contrary theologies, and re-constructing Cyril s christology.
Colin Brown's Christianity Western Thought, Volume 1: From the Ancient World to the Age of Enlightenment was widely embraced as a text in philosophy and theology courses around the world. His project was continued with the same spirit, energy and design by Steve Wilkens and Alan Padgett in volume 2, which explores the main intellectual streams of the nineteenth century. This, the third and final volume, also by Wilkens and Padgett, examines philosophers, ideas and movements in the twentieth century and how they have influenced Christian thought.
A comprehensive description of Beethoven's sketchbooks--bound books of music paper in which Beethoven made sketches for his compositions from about 1798--has been long felt by Beethoven scholars. Although almost all the sketchbooks have survived in one form or another, it became clear in the 1960s that they were in a state of disarray. A reconstruction of their original condition was essential to the proper study of their musical contents.
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