Shershow thus suggests that so-called high and low practices thoroughly interpenetrate one another, forcing us to question whether rival social groups ever truly have their own separate "cultures.
The right-to-die debate has gone on for centuries, playing out most recently as a spectacle of protest surrounding figures such as Terry Schiavo. In Deconstructing Dignity, Scott Cutler Shershow offers a powerful new way of thinking about it philosophically. Focusing on the concepts of human dignity and the sanctity of life, he employs Derridean deconstruction to uncover self-contradictory and damaging assumptions that underlie both sides of the debate. Shershow examines texts from Cicero’s De Officiis to Kant’s Groundwork of the Metaphysics of Morals to court decisions and religious declarations. Through them he reveals how arguments both supporting and denying the right to die undermine their own unconditional concepts of human dignity and the sanctity of life with a hidden conditional logic, one often tied to practical economic concerns and the scarcity or unequal distribution of medical resources. He goes on to examine the exceptional case of self-sacrifice, closing with a vision of a society—one whose conditions we are far from meeting—in which the debate can finally be resolved. A sophisticated analysis of a heated topic, Deconstructing Dignity is also a masterful example of deconstructionist methods at work.
Considers how, in a wide range of western culture and thought, the ideas of working and giving remain locked in a fatal dilemma, each one representing the other's aspirations and absolute limit. Ranging from Marx and Derrida to Friedrich Hayek and Alvin Toffler, Scott Cutler Shershow here explores the predictions of political thinkers on both the left and the right that work is fundamentally changing, or even disappearing; the debates among anthropologists and historians about an archaic gift-economy that preceded capitalism and might reemerge in its wake; contemporary political battles over charity and social welfare; and attempts by modern and postmodern artists to destabilize the work of art as we know it".--BOOKJACKET.
Explores issues related to race and religion in Lovecraft criticism. Today, H. P. Lovecraft is both more popular and controversial than ever: the influence of his Cthulhu mythos is everywhere in popular culture, his cosmic pessimism has reemerged as a major theme in contemporary philosophy, and his racism continues to spark controversy in the media. The Love of Ruins takes a fresh look at a figure widely acknowledged as the father of modern horror or weird fiction. In these pages, Lovecraft emerges not as the atheist and nihilist he is often claimed to be, but as a kind of psychonaut and mystic whose stories, through their own imaginative rigor, expose the intellectual bankruptcy of their authors racism. The Love of Ruins is itself written in the form of letters, in order to do homage to Lovecrafts love of the form of the personal letter (he wrote more than 100,000), and to emulate Lovecrafts lifetime practice of thinking-as-corresponding. The Love of Ruins ranks among the small handful of the very best Lovecraftian analyses. Erudite, sophisticated, and insightful, this volume is a pure joy to read. A must have for anyone interested in Lovecraft or the field of dark fantasy. Gary Hoppenstand, author of Clive Barkers Short Stories: Imagination as Metaphor in the Books of Blood and Other Works
Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. Bread is an object that is always in process of becoming something else: flower to grain, grain to dough, dough to loaf, loaf to crumb. Bread is also often a figure or vehicle of social cohesion: from the homely image of “breaking bread together” to the mysteries of the Eucharist. But bread also commonly figures in social conflict - sometimes literally, in the “bread riots” that punctuate European history, and sometimes figuratively, in the ways bread operates as ethnic, religious or class signifier. Drawing on a wide range of sources, from the scriptures to modern pop culture, Bread tells the story of how this ancient and everyday object serves as a symbol for both social communion and social exclusion. Object Lessons is published in partnership with an essay series in The Atlantic.
The right-to-die debate has gone on for centuries, playing out most recently as a spectacle of protest surrounding figures such as Terry Schiavo. In Deconstructing Dignity, Scott Cutler Shershow offers a powerful new way of thinking about it philosophically. Focusing on the concepts of human dignity and the sanctity of life, he employs Derridean deconstruction to uncover self-contradictory and damaging assumptions that underlie both sides of the debate. Shershow examines texts from Cicero’s De Officiis to Kant’s Groundwork of the Metaphysics of Morals to court decisions and religious declarations. Through them he reveals how arguments both supporting and denying the right to die undermine their own unconditional concepts of human dignity and the sanctity of life with a hidden conditional logic, one often tied to practical economic concerns and the scarcity or unequal distribution of medical resources. He goes on to examine the exceptional case of self-sacrifice, closing with a vision of a society—one whose conditions we are far from meeting—in which the debate can finally be resolved. A sophisticated analysis of a heated topic, Deconstructing Dignity is also a masterful example of deconstructionist methods at work.
Shershow thus suggests that so-called high and low practices thoroughly interpenetrate one another, forcing us to question whether rival social groups ever truly have their own separate "cultures.
Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. Hair, a primary marker of our mammalian nature, is an extraordinary indicator of economic and social standing, political orientation, religious affiliation, marital status, and cultural leanings, among other things. The meanings of hair are deep, powerful, and so strongly embedded in cultural conditioning that they are usually understood unconsciously (and all the more strongly for that). In untangling its myriad meanings, Scott Lowe reveals just how little we control our hair, no matter the style: each and every passer-by decides on its significance anew. From Hittites to hippies and Pentecostals to porn stars, Hair combs through a ubiquitous personal yet public object, a charged and carefully managed dead thing. Object Lessons is published in partnership with an essay series in The Atlantic.
Shakespeare's Nature offers a radically new interpretation of Shakespeare's depiction of nature, revealing the extent to which Shakespeare drew on the language of his wider environment for the exploration of his social worlds.
DIVUses C.L.R. James’sThe Black Jacobins as a jumping-off point for a reconsideration of colonial and postcolonial concepts of history, politics, and agency./div
In this forceful study, Helen C. Scott situates The Tempest within Marxist analyses of the ‘primitive accumulation’ of capital, which she suggests help explain the play’s continued and particular resonance. The ‘storm’ of the title refers both to Shakespeare’s Tempest hurtling through time, and to Walter Benjamin’s concept of history as a succession of violent catastrophes. Scott begins with an account of the global processes of dispossession—of the peasantry and indigenous populations—accompanying the emergence of capitalism, which generated new class relationships, new understandings of human subjectivity, and new forms of oppression around race, gender, and disability. Developing a detailed reading of the play at its moment of production in the business of theatre in 1611, Scott then moves gracefully through the global reception history, showing how its central thematic concerns and figurative patterns bespeak the upheavals and dispossessions of successive stages of capitalist development. Paying particular attention to moments of social crisis, and unearthing a radical political tradition, Scott follows the play from its hostile takeover in the Restoration, through its revival by the Romantics, and consolidation and contestation in the nineteenth century. In the twentieth century transatlantic modernism generated an acutely dystopic Tempest, then during the global transformations of the 1960s postcolonial writers permanently associated it with decolonization. At century’s end the play became a vehicle for exploring intersectional oppression, and the remarkable ‘Sycorax school’ featured iconoclastic readings by writers such as Abena Busia, May Joseph, and Sylvia Wynter. Turning to both popular culture and high-profile stage productions in the twenty-first century, Scott explores the ramifications and figurative potential of Shakespeare's Tempest for global social and ecological crises today. Sensitive to the play’s original concerns and informed by recent scholarship on performance and reception history as well as disability studies, Scott’s moving analysis impels readers towards a fresh understanding of sea-change and metamorphosis as potent symbols for the literal and figurative tempests of capitalism’s old age now threatening ‘the great globe itself.’
Considers how, in a wide range of western culture and thought, the ideas of working and giving remain locked in a fatal dilemma, each one representing the other's aspirations and absolute limit. Ranging from Marx and Derrida to Friedrich Hayek and Alvin Toffler, Scott Cutler Shershow here explores the predictions of political thinkers on both the left and the right that work is fundamentally changing, or even disappearing; the debates among anthropologists and historians about an archaic gift-economy that preceded capitalism and might reemerge in its wake; contemporary political battles over charity and social welfare; and attempts by modern and postmodern artists to destabilize the work of art as we know it".--BOOKJACKET.
Explores issues related to race and religion in Lovecraft criticism. Today, H. P. Lovecraft is both more popular and controversial than ever: the influence of his Cthulhu mythos is everywhere in popular culture, his cosmic pessimism has reemerged as a major theme in contemporary philosophy, and his racism continues to spark controversy in the media. The Love of Ruins takes a fresh look at a figure widely acknowledged as the father of modern horror or weird fiction. In these pages, Lovecraft emerges not as the atheist and nihilist he is often claimed to be, but as a kind of psychonaut and mystic whose stories, through their own imaginative rigor, expose the intellectual bankruptcy of their authors racism. The Love of Ruins is itself written in the form of letters, in order to do homage to Lovecrafts love of the form of the personal letter (he wrote more than 100,000), and to emulate Lovecrafts lifetime practice of thinking-as-corresponding. The Love of Ruins ranks among the small handful of the very best Lovecraftian analyses. Erudite, sophisticated, and insightful, this volume is a pure joy to read. A must have for anyone interested in Lovecraft or the field of dark fantasy. Gary Hoppenstand, author of Clive Barkers Short Stories: Imagination as Metaphor in the Books of Blood and Other Works
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