Bridging the Gaps: Integrating Archaeology and History in Oaxaca, Mexico does just that: it bridges the gap between archaeology and history of the Precolumbian, Colonial, and Republican eras of the state of Oaxaca, Mexico, a cultural area encompassing several of the longest-enduring literate societies in the world. Fourteen case studies from an interdisciplinary group of archaeologists, anthropologists, ethnohistorians, and art historians consciously compare and contrast changes and continuities in material culture before and after the Spanish conquest, in Prehispanic and Colonial documents, and in oral traditions rooted in the present but reflecting upon the deep past. Contributors consider both indigenous and European perspectives while exposing and addressing the difficulties that arise from the application of this conjunctive approach. Inspired by the late Dr. Bruce E. Byland’s work in the Mixteca, which exemplified the union of archaeological and historical evidence and inspired new generations of scholars, Bridging the Gaps promotes the practice of integrative studies to explore the complex intersections between social organization and political alliances, religion and sacred landscape, ethnic identity and mobility, colonialism and resistance, and territoriality and economic resources.
Bridging the Gaps: Integrating Archaeology and History in Oaxaca, Mexico does just that: it bridges the gap between archaeology and history of the Precolumbian, Colonial, and Republican eras of the state of Oaxaca, Mexico, a cultural area encompassing several of the longest-enduring literate societies in the world. Fourteen case studies from an interdisciplinary group of archaeologists, anthropologists, ethnohistorians, and art historians consciously compare and contrast changes and continuities in material culture before and after the Spanish conquest, in Prehispanic and Colonial documents, and in oral traditions rooted in the present but reflecting upon the deep past. Contributors consider both indigenous and European perspectives while exposing and addressing the difficulties that arise from the application of this conjunctive approach. Inspired by the late Dr. Bruce E. Byland’s work in the Mixteca, which exemplified the union of archaeological and historical evidence and inspired new generations of scholars, Bridging the Gaps promotes the practice of integrative studies to explore the complex intersections between social organization and political alliances, religion and sacred landscape, ethnic identity and mobility, colonialism and resistance, and territoriality and economic resources.
In his major investigation into the nature of humans, Peter Sloterdijk presents a critique of myth - the myth of the return of religion. For it is not religion that is returning; rather, there is something else quite profound that is taking on increasing significance in the present: the human as a practising, training being, one that creates itself through exercises and thereby transcends itself. Rainer Maria Rilke formulated the drive towards such self-training in the early twentieth century in the imperative 'You must change your life'. In making his case for the expansion of the practice zone for individuals and for society as a whole, Sloterdijk develops a fundamental and fundamentally new anthropology. The core of his science of the human being is an insight into the self-formation of all things human. The activity of both individuals and collectives constantly comes back to affect them: work affects the worker, communication the communicator, feelings the feeler. It is those humans who engage expressly in practice that embody this mode of existence most clearly: farmers, workers, warriors, writers, yogis, rhetoricians, musicians or models. By examining their training plans and peak performances, this book offers a panorama of exercises that are necessary to be, and remain, a human being.
Peter Sloterdijk’s reputation as one of the most original thinkers of our time has grown steadily since the early 1980s. This volume of over thirty conversations and interviews spanning two decades illuminates the multiple interconnections of his life and work. In these wide-ranging dialogues Sloterdijk gives his views on a variety of topics, from doping to doxa, design to dogma, media to mobility and the financial crisis to football. Here we encounter Sloterdijk from every angle: as he expounds his ideas on the philosophical tradition and the latest strands of contemporary thought, as he analyses the problems of our age and as he provides a new and startling perspective on everyday events. Through exaggeration, Sloterdijk draws our attention to crucial issues and controversies and makes us aware of their implications for society and the individual. Always eager to share his knowledge and erudition, he reveals himself equally at home in ancient Babylon, in the channels of the mass media and on the ethical and moral terrain of religion, education or genetic engineering. Appealing both to the seasoned reader of Sloterdijk and to the curious newcomer, these dialogues offer fresh insight into the intellectual and political events of recent decades. They also give us glimpses of Sloterdijk’s own life story, from his early passionate love of reading and writing to his journeys in East and West, his commitment to Europe and his acceptance and enjoyment of the role of a public intellectual and philosopher in the twenty-first century.
The core of what we refer to as ‘the project of modernity’ is the idea that human beings have the power to bring the world under their control, and hence it is based on a ‘kinetic utopia’: the movement of the world as a whole reflects the implementation of our plans for it. But as soon as the kinetic utopia of modernity is exposed, its seemingly stable foundation cracks open and new problems appear: things don’t happen according to plan because as we actualize our plans, we set in motion other things that we didn’t want as unintended side-effects. We watch with mounting unease as the self-perpetuating side-effects of modern progress overshadow our plans, as a foreign movement breaks off from the very core of the modern project supposedly guided by reason and slips away from us, spinning out of control. What looked like a steady march towards freedom turns out to be a slide into an uncontrollable and catastrophic syndrome of perpetual mobilization. And precisely because so much comes about through our actions, these developments turn out to have explosive consequences for our self-understanding, as we begin to realize that, so far from bringing the world under our control, we are instead the agents of our own destruction. In this brilliant and insightful book Sloterdijk lays out the elements of a new critical theory of modernity understood as a critique of political kinetics, shifting the focus of critical theory from production to mobilization and shedding new light on a world facing the growing risk of humanly induced catastrophe.
In this short book Peter Sloterdijk offers a genealogy of the concept of freedom from Ancient Greece to the present day. This genealogy is part of a broader theory of the large political body, according to which Sloterdijk argues that political communities arise in response to a form of anxiety or stress. Through a highly original reading of Rousseaus late Reveries of a Solitary Walker, Sloterdijk shows that, for Rousseau, the modern subject emerges as a subject free of all stress, unburdened by the cares of the world. Most of modern philosophy, and above all German Idealism, is an attempt to reign back Rousseaus useless and anarchical subject and anchor it in the cares of the world, in the task of having to produce both the world and itself. In the light of this highly original account, Sloterdijk develops his own distinctive account of freedom, where freedom is conceptualized as the availability for the improbable. This important text, in which Sloterdijk develops his account of freedom and the modern subject, will be of great interest to students and scholars in philosophy and the humanities and to anyone interested in contemporary philosophy and critical theory.
In this essential early work, the preeminent European philosopher Peter Sloterdijk offers a cross-cultural and transdisciplinary meditation on humanity's tendency to refuse the world. Developing the first seeds of his anthropotechnics, Sloterdijk theorizes consciousness as a medium, tuned and retuned over the course of technological and social history. His subject here is the "world-alien" (Weltfremdheit) in man that was formerly institutionalized in religions, but is increasingly dealt with in modern times through practices of psychotherapy. Originally written in 1993, this almost clairvoyant work examines how humans seek escape from the world in cross-cultural and historical context, up to the mania and world-escapism of our cybernetic network culture. Chapters delve into artificial habitats and forms of intoxication, from early Christian desert monks to pharmaco-theology through psychedelics. In classic form, Sloterdijk recalibrates and reinvents concepts from the ancient Greeks to Heidegger to develop an astonishingly contemporary philosophical anthropology.
The idea of a connection between poetry and religion is as old as civilization. Homer consulted the Olympian gods on the fate of the fighters on the plain before Troy, and the poet made the heavenly ones speak. It was through poetry that the gods were brought within reach of human hearing. In the centuries after Homer, the Athenian stage became the setting where gods made their poetic interventions, resolving human impasses and contributing to the emotional synchronization of the public life of the city. Sloterdijk argues that, as with the culture of the Ancient Greeks, all religions inscribe a kind of “theopoetry” at the heart of their cultural life and thought, even as they strenuously obscure these poetic origins through the cultivation and enforcement of orthodox norms. Sloterdijk also shows how, in conditions of religious pluralism, religions poetically reshape themselves to accommodate the demands of the religious marketplace. This highly original study of the poetic devices that inform accounts of the otherworldly offers a new interpretation of religious practice and its theological elaboration through history, as well as a fresh perspective on our contemporary age in which collective life, interwoven with imaginative fabrications, is fraying under critical stress.
One can rightly say of Peter Sloterdijk that each of his essays and lectures is also an unwritten book. That is why the texts presented here, which sketch a philosophical physiognomy of Martin Heidegger, should also be characterized as a collected renunciation of exhaustiveness. In order to situate Heidegger's thought in the history of ideas and problems, Peter Sloterdijk approaches Heidegger's work with questions such as: If Western philosophy emerged from the spirit of the polis, what are we to make of the philosophical suitability of a man who never made a secret of his stubborn attachment to rural life? Is there a provincial truth of which the cosmopolitan city knows nothing? Is there a truth in country roads and cabins that would be able to undermine the universities with their standardized languages and globally influential discourses? From where does this odd professor speak, when from his professorial chair in Freiburg he claims to inquire into what lies beyond the history of Western metaphysics? Sloterdijk also considers several other crucial twentieth-century thinkers who provide some needed contrast for the philosophical physiognomy of Martin Heidegger. A consideration of Niklas Luhmann as a kind of contemporary version of the Devil's Advocate, a provocative critical interpretation of Theodor Adorno's philosophy that focuses on its theological underpinnings and which also includes reflections on the philosophical significance of hyperbole, and a short sketch of the pessimistic thought of Emil Cioran all round out and deepen Sloterdijk's attempts to think with, against, and beyond Heidegger. Finally, in essays such as "Domestication of Being" and the "Rules for the Human Park," which incited an international controversy around the time of its publication and has been translated afresh for this volume, Sloterdijk develops some of his most intriguing and important ideas on anthropogenesis, humanism, technology, and genetic engineering.
The first volume in Peter Sloterdijk's monumental Spheres trilogy: an investigation of humanity's engagement with intimate spaces. An epic project in both size and purview, Peter Sloterdijk's three-volume, 2,500-page Spheres is the late-twentieth-century bookend to Heidegger's Being and Time. Rejecting the century's predominant philosophical focus on temporality, Sloterdijk, a self-described “student of the air,” reinterprets the history of Western metaphysics as an inherently spatial and immunological project, from the discovery of self (bubble) to the exploration of world (globe) to the poetics of plurality (foam). Exploring macro- and micro-space from the Greek agora to the contemporary urban apartment, Sloterdijk is able to synthesize, with immense erudition, the spatial theories of Aristotle, René Descartes, Gaston Bachelard, Walter Benjamin, and Georges Bataille into a morphology of shared, or multipolar, dwelling—identifying the question of being as one bound up with the aerial technology of architectonics and anthropogenesis. Sloterdijk describes Bubbles, the first volume of Spheres, as a general theory of the structures that allow couplings—or as the book's original intended subtitle put it, an “archeology of the intimate.” Bubbles includes a wide array of images, not to illustrate Sloterdijk's discourse, but to offer a spatial and visual “parallel narrative” to his exploration of bubbles. Written over the course of a decade, the Spheres trilogy has waited another decade for its much-anticipated English translation from Semiotext(e). Volumes II, Globes, and III, Foam, will be published in the coming seasons.
Thinker on Stage is Peter Sloterdijk's audacious, empathetic reading of Friedrich Nietzche's first published work, The Birth of Tragedy out of the Spirit of Music. Intended originally as a postscript to a new edition of Nietzsche's book, Sloterdijk's text grew and became a book in its own right. Sloterdijk characterizes Nietzsche as a centaur-a philologist/musician, a philosopher/poet; the possessor of multiple talents inseparable from one another-who, in consequence, led the life of an obscure outsider on the fringes of organized cultural life. To Sloterdijk, Nietzsche is not a hairsplitting philologist behind a lecturn but rather a thinker on stage, enacting a psychodrama on the origins of tragedy in universal human suffering. Reaching beyond philology, and risking his career, Nietzsche used this stage to present a glimpse of Greek antiquity quite unlike that cherished in nineteenth-century bourgeois culture. Sloterdijk, in turn, uses his subtle reading of Nietzsche to make his own cultural evaluations. Above all, he finds in The Birth of Tragedy, and in Nietzsche's life, a refutation of the will to power, and a sign that Nietzsche-fragile, wounded, endangered, yet self-affirming-is our contemporary. Book jacket.
While ancient civilizations worshipped strong, active emotions, modern societies have favored more peaceful attitudes, especially within the democratic process. We have largely forgotten the struggle to make use of thymos, the part of the soul that, following Plato, contains spirit, pride, and indignation. Rather, Christianity and psychoanalysis have promoted mutual understanding to overcome conflict. Through unique examples, Peter Sloterdijk, the preeminent posthumanist, argues exactly the opposite, showing how the history of Western civilization can be read as a suppression and return of rage. By way of reinterpreting the Iliad, Alexandre Dumas's Count of Monte Cristo, and recent Islamic political riots in Paris, Sloterdijk proves the fallacy that rage is an emotion capable of control. Global terrorism and economic frustrations have rendered strong emotions visibly resurgent, and the consequences of violent outbursts will determine international relations for decades to come. To better respond to rage and its complexity, Sloterdijk daringly breaks with entrenched dogma and contructs a new theory for confronting conflict. His approach acknowledges and respects the proper place of rage and channels it into productive political struggle.
«Crítica de la razón cínica es una de las obras más provechosas e inteligentes aparecidas en Alemania.» (Fernando Savater) . «Desde 1983 Peter Sloterdijk cuenta entre los filósofos más importantes de la Alemania de posguerra. De un día para otro se hizo famoso con su Crítica de la razón cínica, un libro que conmovió al gran público como casi ninguna otra obra de diagnóstico filosófico del tiempo desde La decadencia de Occidente de Oswald Spengler. [Éste] simpatizaba con los césares [...]. El patrono de Sloterdijk, por el contrario, era el Diógenes del barril, el burlón y el irónico. [...] Crítica de la razón cínica cuenta cómo [...] la conciencia moderna tomó conciencia de sí, y cómo ahora, con correcta conciencia, obra sin embargo incorrectamente.»(Rüdiger Safranski) . «El cinismo es la falsa conciencia ilustrada. Es la moderna conciencia infeliz sobre la que la Ilustración ha trabajado tanto con éxito como en vano.» (Peter Sloterdijk)
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