This book follows the renunciation story in Borges and beyond, arguing for its centrality as a Borgesian compositional trope and as a Borgesian prism for reading a global constellation of texts. The renunciation story at the heart of Buddhism, that of a king who leaves his palace to become an ascetic, fascinated Borges because of its cross-cultural adaptability and metamorphic nature, and because it resonated so powerfully across philosophy, politics and aesthetics. From the story and its many variants, Borges’s essays formulated a 'morphological' conception of literature (borrowing the idea from Goethe), whereby a potentially infinite number of stories were generated by transformation of a finite number of 'archetypes'. The king-and-ascetic encounter also tells a powerful political story, setting up a confrontation between power and authority; Borges’s own political predicament is explored against the rich background of truth-telling renouncers. In its poetic variant, the renunciation archetype morphs into stories about art and artists, with renunciation a key requirement of the creative process: the discussion weaves in and out of Borges to highlight modern writers’ debt to asceticism. Ultimately, the enigmatic appeal of the renunciation story aligns it with the open-endedness of modern parables.
Among the finest examples of European craftsmanship are the clocks produced for the luxury trade in the eighteenth century. The J. Paul Getty Museum is fortunate to have in its decorative arts collection twenty clocks dating from around 1680 to 1798: eighteen produced in France and two in Germany. They demonstrate the extraordinary workmanship that went into both the design and execution of the cases and the intricate movements by which the clocks operated. In this handsome volume, each clock is pictured and discussed in detail, and each movement diagrammed and described. In addition, biographies of the clockmakers and enamelers are included, as are indexes of the names of the makers, previous owners, and locations.
This book is the result of a study carried out in Guangzhou (Canton), financed by the European Union and focusing on the perceptions that the Chinese have of Europe and Europeans. The perceptions tell us nothing or little about the social reality and the real behaviour of others. They are above all an implicit confrontation with the values of those who pronounce them. They act as a projection. Here, they express the framework of thought and implicit values of the Chinese, at the same time as they give a true idea of what the Chinese think of Europeans. It is the role of the social sciences to deconstruct these perceptions in order to objectivize them, that is to say put into perspective their link with the reality described. This done, it is possible to create a certain distance in relation to what is expressed, a certain relativism, the existence of which is necessary in an intercultural perspective.
During the French Revolution, hundreds of domestic and working-class women of Paris were interrogated, examined, accused, denounced, arrested, and imprisoned for their rebellious and often hostile behavior. Here, for the first time in English translation, Dominique Godineau offers an illuminating account of these female revolutionaries. As nurturing and tender as they are belligerent and contentious, these are not singular female heroines but the collective common women who struggled for bare subsistence by working in factories, in shops, on the streets, and on the home front while still finding time to participate in national assemblies, activist gatherings, and public demonstrations in their fight for the recognition of women as citizens within a burgeoning democracy. Relying on exhaustive research in historical archives, police accounts, and demographic resources at specific moments of the Revolutionary period, Godineau describes the private and public lives of these women within their precise political, social, historical, and gender-specific contexts. Her insightful and engaging observations shed new light on the importance of women as instigators, activists, militants, and decisive revolutionary individuals in the crafting and rechartering of their political and social roles as female citizens within the New Republic.
Chenu was a French Dominican friar, a renowned historian, and a theologian with extraordinary creative insight. He shaped the Dominican study center, Le Saulchoir, as its director and as an influential professor from the late 1920s until he was removed by the Vatican in 1942 (for writing a theological program for the school that sounded much like the future Pastoral Constitution on the Church in the Modern World). He influenced two generations of scholars with his rare combination of scientific excellence and pastoral wisdom. Fifty years after Vatican II, historians are still discovering documents and letters that offer important insights into the Council's meaning. This brief journal written by Marie-Dominique Chenu, masterfully edited by Alberto Melloni, is such a document. It reveals the decisive role Chenu played in several initiatives that shaped the Council's character; but, more importantly, it brings to light the dynamic networking of bishops and theologians that lay behind the Council's achievement of so much in so few years. Covering the years 1962-1963, Chenu's Notebook allows readers to feel the drama of the Council's opening period. At the Council, he promoted and drafted its great Message to the World that was the Council's first published statement. In it, many of Chenu's key intuitions became part of an official church statement about its hope for the future: attention to the 'signs of the times', the integration of science and technology into the Church's pastoral message, and commitment to justice and the care of the poor. His Vatican II Notebook is an exciting peek into great moments in a great man's life.
In this major new work, Dominique Schnapper continues her investigation into changes in contemporary democracy. Although she concentrates on the French example, The Democratic Spirit of Law concerns all democratic societies. Schnapper warns against the danger of corrupting the “principles,"as defined by Montesquieu, on which democracy is based. If democracy becomes “extreme,"all its founding principles risk being corrupted. Respect for institutions is necessary for freedom to be effective. Furthermore, if democrats cease to distinguish between facts and values, religion and politics, politics and the judiciary, knowledge and opinion, and knowledge and intuition, they will sink into absolute relativism or a nihilism that threatens the very values on which democratic society is based. By pointing out the danger of corruption inherent in the democratic promise of freedom, equality, and happiness, the author provides intellectual weapons not only to understand, but also to defend democracy, the only system in history, despite its limits and failures, that has humanely organized human societies. Democracy’s future depends on citizens’ preservation of the founding spirit of the democratic order: recognition of others, and free, reasonable, and controlled criticism of legitimate institutions.
Beggars, outcasts, urchins, waifs, prostitutes, criminals, convicts, madmen, fallen women, lunatics, degenerates—part reality, part fantasy, these are the grotesque faces that populate the underworld, the dark inverse of our everyday world. Lurking in the mirror that we hold up to our society, they are our counterparts and our doubles, repelling us and yet offering the tantalizing promise of escape. Although these images testify to undeniable social realities, the sordid lower depths make up a symbolic and social imaginary that reflects our fears and anxieties—as well as our desires. In Vice, Crime, and Poverty, Dominique Kalifa traces the untold history of the concept of the underworld and its representations in popular culture. He examines how the myth of the lower depths came into being in nineteenth-century Europe, as biblical figures and Christian traditions were adapted for a world turned upside-down by the era of industrialization, democratization, and mass culture. From the Parisian demimonde to Victorian squalor, from the slums of New York to the sewers of Buenos Aires, Kalifa deciphers the making of an image that has cast an enduring spell on its audience. While the social conditions that created that underworld have changed, Vice, Crime, and Poverty shows that, from social-scientific ideas of the underclass to contemporary cinema and steampunk culture, its shadows continue to haunt us.
Ancient Mesopotamia, the fertile crescent between the Tigris and Euphrates rivers in what is now western Iraq and eastern Syria, is considered to be the cradle of civilization—home of the Babylonian and Assyrian empires, as well as the great Code of Hammurabi. The Code was only part of a rich juridical culture from 2200–1600 BCE that saw the invention of writing and the development of its relationship to law, among other remarkable firsts. Though ancient history offers inexhaustible riches, Dominique Charpin focuses here on the legal systems of Old Babylonian Mesopotamia and offers considerable insight into how writing and the law evolved together to forge the principles of authority, precedent, and documentation that dominate us to this day. As legal codes throughout the region evolved through advances in cuneiform writing, kings and governments were able to stabilize their control over distant realms and impose a common language—which gave rise to complex social systems overseen by magistrates, judges, and scribes that eventually became the vast empires of history books. Sure to attract any reader with an interest in the ancient Near East, as well as rhetoric, legal history, and classical studies, this book is an innovative account of the intertwined histories of law and language.
This book follows the renunciation story in Borges and beyond, arguing for its centrality as a Borgesian compositional trope and as a Borgesian prism for reading a global constellation of texts. The renunciation story at the heart of Buddhism, that of a king who leaves his palace to become an ascetic, fascinated Borges because of its cross-cultural adaptability and metamorphic nature, and because it resonated so powerfully across philosophy, politics and aesthetics. From the story and its many variants, Borges’s essays formulated a 'morphological' conception of literature (borrowing the idea from Goethe), whereby a potentially infinite number of stories were generated by transformation of a finite number of 'archetypes'. The king-and-ascetic encounter also tells a powerful political story, setting up a confrontation between power and authority; Borges’s own political predicament is explored against the rich background of truth-telling renouncers. In its poetic variant, the renunciation archetype morphs into stories about art and artists, with renunciation a key requirement of the creative process: the discussion weaves in and out of Borges to highlight modern writers’ debt to asceticism. Ultimately, the enigmatic appeal of the renunciation story aligns it with the open-endedness of modern parables.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.