Modern, Stevie March 15, 2016: A 19 year-old American tourist is arrested in Jerusalem. Police authorities had found him asleep in a prohibited cave area, deep under the Muslim quarter of the Old City. A search finds his backpack loaded with rubble dug with a pickaxe, at a site where myth tells of lost religious treasure. The tourist claims no memory of his actions. Israeli media reports the story as a possible case of 'Jerusalem Syndrome' - a religiously themed (...) psychosis. The syndrome affects nearly 100 people each year out of millions of tourists who visit Jerusalem. (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

These photographs, essays, drawings, and original texts document the rich agit-art legacy of the Situationist International, a group of European artists and writers who emerged from such avant-garde movements as COBRA, Lettrisme, and the Imaginary Bauhaus and from the breakup of surrealism to launch a strategy of art as cultural critique.

Elizabeth Anscombe famously argued that "modern moral philosophy" centrally involved unsupported notions of obligation and culpability. Modern Moral Philosophy: From Grotius to Kant exhibits, for the first time, resources that modern moral philosophers had to respond to Anscombe's challenge, also enhancing our own philosophical grasp of morality and its foundations.

Modernity as a problem -- On modernitis -- Can europe survive modernity? -- From one transcendental to another -- Sacred cows or mad cows? -- To ground reason -- Atheism or superstition? -- Is secularization modern? -- Democracy and theocracy -- Reaction to progress -- Culture -- Are there really two cultures? -- Does culture support the idea of truth? -- Heirs without a will? -- To temporize -- From time to time -- How one writes history -- The (...) conditions of a future -- Reconstruction -- An educational dream -- Not to betray: the tradition. (shrink)

What is the modern turn in philosophy? In other words, what are the features that make modern philosophy distinctively ""modern"" in contrast with the pre-modern philosophy from which it emerged? The twelve essays in this volume seek to address this question, and in doing so, exemplify and contribute to a rich debate about the nature and value of modern philosophy.

Modern Jewish Philosophy and the Politics of Divine Violence Is commitment to God compatible with modern citizenship? In this book, Daniel H. Weiss provides new readings of four modern Jewish philosophers - Moses Mendelssohn, Hermann Cohen, Franz Rosenzweig, and Walter Benjamin - in light of classical rabbinic accounts of God's sovereignty, divine and human violence, and the embodied human being as the image of God. He demonstrates how classical rabbinic literature is relevant to contemporary political and philosophical (...) debates. Weiss brings to light striking political aspects of the writings of the modern Jewish philosophers, who have often been understood as non-political. In addition, he shows how the four modern thinkers are more radical and more shaped by Jewish tradition than has previously been thought. Taken as a whole, Weiss' book argues for a fundamental rethinking of the relationship between Judaism and politics, the history of Jewish thought, and the ethical and political dynamics of the broader Western philosophical tradition. (shrink)

After Modernity summarizes archaeological approaches to the contemporary past, and suggests a new agenda for the archaeology of late modern societies.

Not everyone faces “modern” death equally, whether in Oran or today’s world. In this chapter, I argue that the “difficulty” in Oran of “modern death” as described by Camus is still with us today in that Americans neither faced death together in any form of solidarity under the Trump administration nor faced death individually in any traditional “decent” manner (as proposed by the character Tarrou), that is, comforted by family or friends. One reason is overwhelming fear of death—what (...) neuroscientists call “existential anxiety”—that can motivate human behavior toward either selfishness or an ethics of care. As a result of lived experiences of the pandemic, a sense of “heroic solidarity” has perhaps been finally achieved that moves us from despair to hope, confirming Camus’s faith in humanity. (shrink)

This book analyses three of the most prevalent illnesses of late modernity: anxiety, depression and Alzheimer’s disease, in terms of their relation to cultural pathologies of the social body. Usually these conditions are interpreted clinically in terms of individualized symptoms and responded to discretely, as though for the most part unrelated to each other. However, these diseases also have a social and cultural profile that transcends their particular symptomologies and etiologies. Anxiety, depression and Alzheimer’s are diseases related to disorders of (...) the collective esprit de corps of contemporary society. Multidisciplinary in approach, the book addresses questions of how these conditions are manifest at both the individual and collective levels in relation to hegemonic biomedical and psychologistic understandings. Rejecting such reductive diagnoses, the authors argue that anxiety, depression and Alzheimer’s disease, as well as other contemporary epidemics, are to be analysed in the light of individual and collective experiences of profound and radical changes in our civilization. A diagnosis of our times, Late Modern Subjectivity and its Discontents will appeal to a broad range of scholars with interests in health and illness, the sociology of medicine and contemporary life. (shrink)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...) and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

Excerpt from Nine Modern Moralists The greatness of the men whose insight and re ections are the subject of the following chapters is obviously a sufficient justification for this volume. The reader who simply wants to learn what was felt and thought and believed by some of the outstanding minds of the immediate past and of the present can, it is hoped, do so by reading the chapters of this book as expository essays. Here he will find their thought (...) anatomized; and, in relatively brief compass, it may be possible for him to become seriously engaged in thinking their thoughts after them. Certainly, no one can come to an understanding of the latest and best of contemporary ideas and ideals by going around these men; only by going through them can one gain a deeper understanding of himself and of our epoch. That is the first purpose of this book: to provide an introduction to nine selected modern moralists. The second purpose is constructive and critical. Exposition and ex planation by themselves are not the aim of these chapters. The highest tribute one can pay any thinker, or any body of writing, is to wrestle with it; and this may well be the best way to bring out the innermost and most vital meaning of what any man has said. I trust that in this wrestling I have nowhere simply commanded an issue to be gone, or have ignored the real meaning or the strength of an idea or point of view in rejecting or reformulating it. The procedure employed in criti cism is always an internal one. This is to say that it always seems best to go as far as one can with another man's thought, developing it up to the point where some criticism or objection or revision unfolds itself, as it were, from within the system or structure of thought under examina tion. In this way the most constructive results may be expected from criticism; and, in this way also, constructive and critical essays may fairly aim to be explanatory ones. As expository essays the chapters that follow may be taken one at a time and in any order, or one or more without the others. Their con structive and critical purpose, however, connects them all together. The author has been somewhat surprised at the extent to which this is true, when preparing for publication these papers which were written in some cases years apart. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.". (shrink)

This is a book about our plight in the modern world, about how we live and how we lie about how we live. It consists of sayings completed in the time it takes to recognise another, to smile and to stand back surprised as they pass by. These are stories that are as complete as they ever will be, and perhaps can be.