Winner of the sixth annual Morris Forkosch Prize, given by the Journal of the History of Ideas, for the best book published in intellectual history in 1992. In this searching and wide-ranging book, Timothy J. Reiss seeks to explain how the...
Through extensive readings in philosophical, legal, medical, and imaginative writing, this book explores notions and experiences of being a person from European antiquity to Descartes. It offers quite new interpretations of what it was to be a personto experience who-nessin other times and places, involving new understandings of knowing, willing, and acting, as well as of political and material life, the play of public and private, passions and emotions. The trajectory the author reveals reaches from the ancient sense of personhood as set in a totality of surroundings inseparable from the person, to an increasing sense of impermeability to the world, in which anger has replaced love in affirming a sense of self. The author develops his analysis through an impressive range of authors, languages, and texts: from Cicero, Seneca, and Galen; through Avicenna, Hildegard of Bingen, and Heloise and Abelard; to Petrarch, Montaigne, and Descartes.
The Uncertainty of Analysis pursues key issues raised in the author's earlier Discourse of Modernism, a ground-breaking work which focused attention on the nature of discourse and the ways in which one culturally dominant "discursive class" may be replaced by another. In this timely and provocative collection of his essays, Timothy J. Reiss shows how efforts to reconfirm the force and power of modernist, analytico-referential discourse in the late nineteenth and the twentieth centuries have actually brought to the fore internal contradictions, have made clear the problematic nature of the dominant discourse, and have precipitated the emergence of competing discourses. Reiss considers the explorations in foundational logic by Frege and Peirce; examinations of language and its relations to mind by Saussure, Greimas, and Chomsky; work in linguistic and scientific epistemology by Wittgenstein and Heisenberg; and the attempts to analyze the nature of society by Sartre and other Western Marxists. Reiss turns to some practitioners of literary criticism and theory who have sought to escape past constraints, and he points to what appear to be erroneous routes away from the dilemmas raised by these philosophers and critics.
This book investigates "cultural instruments," meaning normative forms of analysis and practice that are central to Western culture. It explores their history from antiquity to the early Enlightenment and their use and reworking by different cultures, moving from Europe to Africa and the Americas, especially the Caribbean, in the process giving close readings of a wide range of authors.
In this searching and wide-ranging book, Timothy J. Reiss seeks to explain how the concept of literature that we accept today first took shape between the mid-sixteenth century and the early seventeenth, a time of cultural transformation. Drawing on literary, political, and philosophical texts from Central and Western Europe, Reiss maintains that by the early eighteenth century divergent views concerning gender, politics, science, taste, and the role of the writer had consolidated, and literature came to be regarded as an embodiment of universal values. During the second half of the sixteenth century, Reiss asserts, conceptual consensus was breaking down, and many Western Europeans found themselves overwhelmed by a sense of social decay. A key element of this feeling of catastrophe, Reiss points out, was the assumption that thought and letters could not affect worldly reality. Demonstrating that a political discourse replaced the no-longer-viable discourse of theology, he looks closely at the functions that letters served in the reestablishment of order. He traces the development of the idea of literature in texts by Montaigne, Spenser, Sidney, Shakespeare, Lope de Vega, and Cervantes, among others; through seventeenth-century writings by such authors as Davenant, Boileau, Dryden, Rymer, Anne Dacier, Astell, and Leibniz; to eighteenth-century works including those of Addison, Pope, Batteux and Hutcheson, Burke, Lessing, Kant, and Wollstonecraft. Reiss follows key strands of the tradition, particularly the concept of the sublime, into the nineteenth century through a reading of Hegel's Aesthetics. The Meaning of Literature will contribute to current debates concerning cultural dominance and multiculturalism. It will be welcomed by anyone interested in literature and in cultural studies, including literary theorists and historians, comparatists, intellectual historians, historical sociologists, and philosophers.
The Uncertainty of Analysis pursues key issues raised in the author's earlier Discourse of Modernism, a ground-breaking work which focused attention on the nature of discourse and the ways in which one culturally dominant "discursive class" may be replaced by another. In this timely and provocative collection of his essays, Timothy J. Reiss shows how efforts to reconfirm the force and power of modernist, analytico-referential discourse in the late nineteenth and the twentieth centuries have actually brought to the fore internal contradictions, have made clear the problematic nature of the dominant discourse, and have precipitated the emergence of competing discourses. Reiss considers the explorations in foundational logic by Frege and Peirce; examinations of language and its relations to mind by Saussure, Greimas, and Chomsky; work in linguistic and scientific epistemology by Wittgenstein and Heisenberg; and the attempts to analyze the nature of society by Sartre and other Western Marxists. Reiss turns to some practitioners of literary criticism and theory who have sought to escape past constraints, and he points to what appear to be erroneous routes away from the dilemmas raised by these philosophers and critics.
Through extensive readings in philosophical, legal, medical, and imaginative writing, this book explores notions and experiences of being a person from European antiquity to Descartes. It offers quite new interpretations of what it was to be a personto experience who-nessin other times and places, involving new understandings of knowing, willing, and acting, as well as of political and material life, the play of public and private, passions and emotions. The trajectory the author reveals reaches from the ancient sense of personhood as set in a totality of surroundings inseparable from the person, to an increasing sense of impermeability to the world, in which anger has replaced love in affirming a sense of self. The author develops his analysis through an impressive range of authors, languages, and texts: from Cicero, Seneca, and Galen; through Avicenna, Hildegard of Bingen, and Heloise and Abelard; to Petrarch, Montaigne, and Descartes.
Using the framework of interest group conflict, this text combines a balanced, comprehensive overview of the field of deviance with first-hand expertise in the workings of the criminal justice system. Deviant Behavior, Seventh Edition, surveys a wide range of topics, from explanations regarding crime and criminal behavior, measurement of crime, violent crime and organizational deviance, to sexual behavior, mental health, and substance abuse. This new edition continues its tradition of applying time-tested, sociological theory to developing social concepts and emerging issues.
Recent explanations of changes in early modern European thought speak much of a move from orality and emphasis on language to print culture and a "spatial" way of thinking. Timothy J. Reiss offers a more complex explanation for the massive changes in thought that occurred. He describes how, while teaching and public debate continued to be based in the language arts, scientific and artistic areas came to depend on mathematical disciplines, including music, for new means and methods of discovery, and as a basis for wider sociocultural renewal.
In the wake of radical social movements in the 1960s and 1970s, literary studies’ embrace of politics entailed a widespread rejection of aesthetic considerations. For scholars invested in literature’s role in supporting or challenging dominant ideologies, appreciating literature’s formal beauty seemed frivolous and irresponsible, even complicit with the iniquities of the social order. This suspicion of aesthetics became the default posture within literary scholarship, a means of establishing the rigor of one’s thought and the purity of one’s political commitments. Yet as Timothy Aubry explains, aesthetic pleasure never fully disappeared from the academy. It simply went underground. From New Criticism to the digital humanities, Aubry recasts aesthetics as the complicated, morally ambiguous, embattled yet resilient protagonist in late twentieth-century and early twenty-first–century literary studies. He argues that academic critics never stopped asserting preferences for certain texts, rhetorical strategies, or intellectual responses. Rather than serving as the enemy of formalism and aesthetics, political criticism enabled scholars to promote heightened experiences of perceptual acuity and complexity while adjudicating which formal strategies are best designed to bolster these experiences. Political criticism, in other words, did not eradicate but served covertly to nurture reading practices aimed at achieving aesthetic satisfaction. Guilty Aesthetic Pleasures shows that literary studies’ break with midcentury formalism was not as clean as it once appeared. Today, when so many scholars are advocating renewed attention to textual surfaces and aesthetic experiences, Aubry’s work illuminates the surprisingly vast common ground between the formalists and the schools of criticism that succeeded them.
This book investigates "cultural instruments," meaning normative forms of analysis and practice that are central to Western culture. It explores their history from antiquity to the early Enlightenment and their use and reworking by different cultures, moving from Europe to Africa and the Americas, especially the Caribbean, in the process giving close readings of a wide range of authors.
A resource that combines oncologic principles with treatment plans for the surgical management of neoplasms Textbook of General Surgical Oncology is a practical and comprehensive reference that offers authoritative coverage of a wide variety of oncologic concepts and disorders. The book opens with detailed discussion of the general principles of molecular biology, cancer epidemiology, surgical oncology, radiation oncology, medical oncology, immunotherapy, nuclear imaging, and molecular diagnostics. The text then focuses on site-specific neoplasms, such as those of the skin, soft tissue, bone, head/neck, brain, lung, mediastinum, breast, pleura, peritoneum, as well as tumors that affect various systems, including the endocrine, gastrointestinal, hepatobiliary, genitourinary, gynecologic, and hematopoietic. · Each chapters is written by an internationally recognized expert on the topic · Learning aids include chapter-ending Q&A and Practical Pearls · Outstanding review for the new General Surgical Oncology certification examination
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