Erich Maria Remarque’s All Quiet on the Western Front remains the archetypal example of an anti-war novel, and one that has become synonymous with the Great War. Yet the tremendous and enduring popularity of Remarque’s work has to some extent eclipsed a plethora of other German anti-war writers. In order to provide a more rounded view, this volume offers a selection of essays published by Brian Murdoch over the past twenty years. A new introduction provides the context for the volume and survey recent developments in the subject, the essays that follow range broadly over the German anti-war literary tradition, telling us much about the shifting and contested nature of the war.
In the wake of the revolutions of 1989, the ongoing political turmoil in the Soviet Union, and the democratization of most of Latin America, what is the task of political theorists? Ronald Beiner's invigorating critique of liberal theory and liberal practices takes on the shibboleths of modern Western discourse. He confronts the aridity of liberal societies that possess incommensurable "values" and "rights," but no principles. To Beiner, this neutralist view is both a false description of liberal society and an incoherent political ideal. Rather, he encourages the theorist to remain faithful to the important task of questioning and criticism, instead of serving as a source of ideological reassurance about our own superiority. Beiner looks to the Socratic tradition for guidance. Permitting ethos to replace values, and discourse about "the good" to replace talk about "rights," the theorist is able to reorder social priorities. Considered in this light, the liberal political philosophy of the 1970s and 1980s appears insufficiently Socratic, as does a liberal way of life that presents itself as a model of imitation. Polemical, impassioned, and brilliantly argued, What's the Matter with Liberalism? is essential reading for everyone who cares about contemporary theory and the future of liberal society. In the wake of the revolutions of 1989, the ongoing political turmoil in the Soviet Union, and the democratization of most of Latin America, what is the task of political theorists? Ronald Beiner's invigorating critique of liberal theory and liberal practices takes on the shibboleths of modern Western discourse. He confronts the aridity of liberal societies that possess incommensurable "values" and "rights," but no principles. To Beiner, this neutralist view is both a false description of liberal society and an incoherent political ideal. Rather, he encourages the theorist to remain faithful to the important task of questioning and criticism, instead of serving as a source of ideological reassurance about our own superiority. Beiner looks to the Socratic tradition for guidance. Permitting ethos to replace values, and discourse about "the good" to replace talk about "rights," the theorist is able to reorder social priorities. Considered in this light, the liberal political philosophy of the 1970s and 1980s appears insufficiently Socratic, as does a liberal way of life that presents itself as a model of imitation. Polemical, impassioned, and brilliantly argued, What's the Matter with Liberalism? is essential reading for everyone who cares about contemporary theory and the future of liberal society.
In this groundbreaking examination of British war art during the Second World War, Brian Foss delves deeply into what art meant to Britain and its people at a time when the nation's very survival was under threat. Foss probes the impact of war art on the relations between art, state patronage, and public interest in art, and he considers how this period of duress affected the trajectory of British Modernism. Supported by some two hundred illustrations and extensive archival research, the book offers the richest, most nuanced view of mid-century art and artists in Britain yet written. The author focuses closely on Sir Kenneth Clark's influential War Artists' Advisory Committee and explores topics ranging from censorship to artists' finances, from the depiction of women as war workers to the contributions of war art to evolving notions of national identity and Britishness. Lively and insightful, the book adds new dimensions to the study of British art and cultural history.
Bringing together scholars from literature and the history of ideas, Passions and Subjectivity in Early Modern Culture explores new ways of negotiating the boundaries between cognitive and bodily models of emotion, and between different versions of the will as active or passive. In the process, it juxtaposes the historical formation of such ideas with contemporary philosophical debates. It frames a dialogue between rhetoric and medicine, politics and religion, in order to examine the relationship between mind and body and between experience and the senses. Some chapters discuss literature, in studies of Shakespeare, Donne, and Milton; other essays concentrate on philosophical arguments, both Aristotelian and Galenic models from antiquity, and new mechanistic formations in Descartes, Hobbes and Spinoza. A powerful sense of paradox emerges in treatments of the passions in the early modern period, also reflected in new literary and philosophical forms in which inwardness was displayed, analysed and studied—the autobiography, the essay, the soliloquy—genres which rewrite the formation of subjectivity. At the same time, the frame of reference moves outwards, from the world of interior states to encounter the passions on a public stage, thus reconnecting literary study with the history of political thought. In between the abstract theory of political ideas and the inward selves of literary history, lies a field of intersections waiting to be explored. The passions, like human nature itself, are infinitely variable, and provoke both literary experimentation and philosophical imagination. Passions and Subjectivity in Early Modern Culture thus makes new connections between embodiment, selfhood and the emotions in order to suggest both new models of the self and new models for interdisciplinary history.
The emergence of Thatcherism around 1980, which ushered in a period of neo-liberalism in British politics that still resonates today, led musicians, like other artists, to respond to their context of production. This book uses the early work of one of these musicians, Elvis Costello, to explore the relationship between popular music and politics in one historical period. It is not a biography but an exploration of the interaction between a creative musician's works and their context of constraint and opportunity. Pilgrim and Ormrod unpack the political meaning of Thatcherism and deal with matters arising in that political context about Costello's life but which had resonance for many others at the time (and still do). These topics include the politics of race, class, gender and ageing, emphasising the recurring theme of nostalgia in modern and post-modern life. Throughout the book examples are provided of Costello's songs and how they work musically to illustrate or stimulate the contextual discussion. The book will be of significant interest to musicologists, sociologists and social psychologists.
This collection of John Barton's work engages with current concern over the biblical canon, in both historical and theological aspects; with literary reading of the Bible and current literary theory as it bears on biblical studies; and with the theological reading and use of the biblical text. John Barton's distinctive writing reflects a commitment to a 'liberal' approach to the Bible, which places a high value on traditional biblical criticism and also seeks to show how evocative and full of insight the biblical texts are and how they can contribute to modern theological concerns. This invaluable selection of published writings by one of the leading authorities on biblical text and canon, also includes new essays and editorial introductions from the author.
In the preface to his Philosophical Investigations Ludwig Wittgenstein expresses pessimism about the culture of his time and doubts as to whether his ideas would be understood in such a time: 'I make them public with doubtful feelings. It is not impossible that it should fall to the lot of this work, in its poverty and in the darkness of this time, to bring light into one brain or another - but, of course, it is not likely'. In this book William James DeAngelis develops a deeper understanding of Wittgenstein's remark and argues that it is an expression of a significant cultural component in Wittgenstein's later thought which, while latent, is very much intended. DeAngelis focuses on the fascinating connection between Wittgenstein and Oswald Spengler and in particular the acknowledged influence of Spengler's Decline of the West. His book shows in meticulous detail how Spengler's dark conception of an ongoing cultural decline resonated deeply for Wittgenstein and influenced his later work. In so doing, the work takes into account discussions of these matters by major commentators such as Malcolm, Von Wright, Cavell, Winch, and Clack among others. A noteworthy feature of this book is its attempt to link Wittgenstein's cultural concerns with his views on religion and religious language. DeAngelis offers a fresh and original interpretation of the latter.
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