This is the long-awaited publication of a set of writings by the British philosopher, historian, and archaeologist R.G. Collingwood (1889-1943) on critical, anthropological, and cultural themes only hinted at in his previously available work. At the core are six essays on folktale and magic in which Collingwood applies the principles of his philosophy of history to problems in the long-term evolution of human society and culture. The volume opens with three substantial introductory essays by the editors, authorities in their (...) various fields, who provide their explanatory and contextual notes to guide the reader through the texts. The Philosophy of Enchantment highlights the broad range of Collingwood's intellectual engagements, their integration, and their relevance to current areas of debate in the fields of philosophy, cultural studies, social and literary history, and anthropology. (shrink)
While most Chaucer critics interested in gender and sexuality have used psychoanalytic theory to analyze Chaucer's poetry, Mark Miller re-examines the links between sexuality and the philosophical analysis of agency in medieval texts such as the Canterbury Tales, Boethius's Consolation of Philosophy, and the Romance of the Rose. Chaucer's philosophical sophistication provides the basis for a new interpretation of the emerging notions of sexual desire and romantic love in the late Middle Ages.
Dilemma one, Between the theoretical concepts and authorial intention -- Dilemma two, Good manners and eristic -- Dilemma three, Between strangeness and familiarity -- Dilemma four, Between scholarly research and faith.
Applying ideas drawn from contemporary critical theory, this book historicizes psychoanalysis through a new and significant theorization of the Gothic. The central premise is that the nineteenth-century Gothic produced a radical critique of accounts of sublimity and Freudian psychoanalysis. This book makes a major contribution to an understanding of both the nineteenth century and the Gothic discourse which challenged the dominant ideas of that period. Writers explored include Mary Shelley, Edgar Allan Poe, Robert Louis Stevenson, and Bram Stoker.
This paper suggests that Collingwood's fairytales writings can be read as a historical study on the origins of European religion. His interest in fairytales belongs to a clear tradition, whose members include John Ruskin, Benedetto Croce and most importantly Giambattista Vico, that realised the potential of fairytales as evidence for historical knowledge. In this context fairytales should be understood as myths that are not symbols but truthful, poetically expressed, (...) narrations of the lives and societies of past people. Furthermore the connection of certain of those myths with religion was also recognised as an important element. Collingwood in his fairytales study extends and clarifies this line of inquiry. He interprets certain themes of fairytales as myths, suggesting that the origins of European religion and society can be detected in the totemistic beliefs of the pre-Neolithic people. (shrink)
Did Plato really write those Socratic Dialogues – or was it Socrates after all? Why is it doubtful that Descartes ever really uttered, “I think, therefore I am”? And what did Sartre ever have against waiters, anyway? The history of philosophy is filled with great tales – many of them fictions, misrepresentations, falsehoods, lies and fibs. Or are they just misstatements, prevarications, and narratives not entirely based on fact? In the true spirit of a broad philosophical debate, Philosophical (...)Tales dips a toe into the great sea of philosophy to collect, deconstruct, and relate many of history’s great – and not so great – philosophical tales. Enlightening and entertaining, Philosophical Tales examines a few of the fascinating biographical details of history’s greatest philosophers (alas, mostly men) and highlights their contributions to the field. By applying the true philosophical approach to philosophy itself, the text provides us with a refreshing “alternative history” of philosophy. But why should someone want to know that Kant rolled himself three times in his sheets each night before sleeping, that Schopenhauer pushed a poor old lady down the stairs, or Marx spent as much time on beer and women as he did in the British Library? By examining the seeming trivialities of philosophers’ lives – and skewering a few cherished myths along the way – Philosophical Tales provides us with illuminating insights that will encourage a more active, critical way of thinking. Blaise Pascal may have put it best when he said, “To make light of philosophy is to be a true philosopher.”. (shrink)
Summary Fairytales are widely used by teachers and parents in helping children to read. The Ladybird Well?Loved Tales series is particularly popular and widely available in schools and supermarkets. The paper argues that the stereotypical images of women put forward in these tales is one element in contributing to females? negative and stereotypical views of themselves and limited definitions of their identities and roles. It also argues that the consolation implicit in such tales need (...) not necessarily be ?bought? at such a price: the second part of the paper outlines images and motifs in alternative fairytales. (shrink)
This article discusses the role that history and historiography play in Brandoms Tales of the Mighty Dead . I claim that Brandoms attempt to integrate a historical dimension in his inferentialist project fails, and argue that the reason for that failure lies in the misconstruction and misreading of Hegels idea of rationality with regard, at least, to two fundamental points: to the Hegelian concept of history and to his notion of the social. The further point that I (...) make remains an open question and regards the ideological motives that lead American analytic pragmatists to repeatedly try to institute such a misconstrued contact with Hegel - a contact that is necessarily bound to fail unless the historical dimension of Hegels philosophy is not only recognized but somehow integrated into the very idea of philosophy that one systematically practises. Key Words: Robert Brandom G.W.F.Hegel history history of philosophy historiography. (shrink)
Introduction: Fielding Derrida -- Jacques Derrida's early writings : alongside skepticism, phenomenology -- Analytic philosophy, and literary criticism -- Deconstruction as skepticism -- Derrida, Husserl, and the commentators : a developmental approach -- A transcendental sense of death : Derrida and the philosophy of language -- Literary theory's languages : the deconstruction of sense vs. the deconstruction of reference -- Jacques Derrida and the problem of philosophical and political modernity -- Jacob Klein and Jacques Derrida : the problem of (...) modernity -- Jacob Klein and Jacques Derrida : historicism and history in two interpretations of Husserl's late writings -- Derrida's contribution to phenomenology : a problem of no species -- Foretellese : futures of Derrida and Marx. (shrink)
Sam Kean: The disappearing spoon: and other true tales of madness, love, and the history of the world from the periodic table of the elements Content Type Journal Article Pages 77-77 DOI 10.1007/s10698-010-9101-x Authors Michael Laing, School of Pure and Applied Chemistry, University of KwaZulu-Natal, Durban, 4041 South Africa Journal Foundations of Chemistry Online ISSN 1572-8463 Print ISSN 1386-4238 Journal Volume Volume 13 Journal Issue Volume 13, Number 1.
More than a century after Guido Adler's appointment to the first chair in musicology at the University of Vienna, Music, Criticism, and the Challenge of History provides a first look at the discipline in this earliest period, and at the ideological dilemmas and methodological anxieties that characterized it upon its institutionalization. Author Kevin Karnes contends that some of the most vital questions surrounding musicology's disciplinary identities today-the relationship between musicology and criticism, the role of the subject in (...) analysis and the narration of history, and the responsibilities of the scholar to the listening public-originate in these conflicted and largely forgotten beginnings. Karnes lays bare the nature of music study in the late nineteenth century through insightful readings of long-overlooked contributions by three of musicology's foremost pioneers-Adler, Eduard Hanslick, and Heinrich Schenker. Shaped as much by the skeptical pronouncements of the likes of Nietzsche and Wagner as it was by progressivist ideologies of scientific positivism, the new discipline comprised an array of oft-contested and intensely personal visions of music study, its value, and its future. Karnes introduces readers to a Hanslick who rejected the call of positivist scholarship and dedicated himself to penning an avowedly subjective history of Viennese musical life. He argues that Schenker's analytical experiments had roots in a Wagner-inspired search for a critical alternative to Adler's style-obsessed scholarship. And he illuminates Adler's determined response to Nietzsche's warnings about the vitality of artistic and cultural life in an increasingly scientific age. Through sophisticated and meticulous presentation, Music, Criticism, and the Challenge of History demonstrates that the new discipline of musicology was inextricably tied in with the cultural discourse of its time. (shrink)
Current scholarship has focused on analyzing how Arendt's storytelling corresponds to her political arguments. In following up this discussion, I offer a closer examination of the unusual myth Arendt uses to explain the condition of the modern age, a myth she refers to as the ?political nature of history.? I employ literary terms along with the standard vocabulary of political theory in shaping this reading of Arendt. Following Robert C. Pirro, I also consider Arendt's story as a tragedy, but (...) in the broadest sense, that of a collision of two goods, freedom and security. By describing Arendt's thought in this manner, I hope to reveal another way in which Arendt represents the call to action that she believes so crucial to humanity, as a summons to we flawed antiheroes through the device of a heroic myth. (shrink)
Machine generated contents note: Introduction: The Rise of Philosophical Art Criticism 1 -- Chapter 1. In the Beginning Was Formalism 17 -- Chapter 2. The Structuralist Adventure 33 -- Chapter 3. The Historicist, Antiessentialist Definition of Art 55 -- Chapter 4. Resentment and Its Discontents 71 -- Chapter 5. The Deconstruction of Structuralism 87 -- Afterword: The Fate of Philosophical Art Criticism 111.
Prelude and address. I'm listening -- Author's rights, listener's rights (journal of our ancestors) -- Writing our listenings: arrangement, translation, criticism -- Our instruments for listening before the law (second journal entry) -- Listening (to listening): the making of the modern ear -- Plastic listening.
The Jamesian mode of writing, it has been claimed, actively works against an understanding of the way truth, history and power circulate in his texts. In this collection of essays, leading scholars of James analyse the strategies James used to address these crucial issues. Enacting History in Henry James claims that, because the type of knowledge available in James's fiction is never of a cognitive kind, the reader can never know 'truth' in any verifiable sense. James's writing instead (...) promises an experiential type of knowledge, one that is attained by participating in the power games and moral dramas that unfold within the text. This collection argues that reading James ultimately requires not just an emotional responsiveness, but also an ethical assumption of responsibility for the act of reading. By placing James's work in a fresh theoretical context, this book throws new light on this most enigmatic of writers. (shrink)
This book presents an innovative analysis of the role of imagination as a central concept in both literary and art criticism. Dee Reynolds brings this approach to bear on works by Rimbaud, Mallarme;, Kandinsky, and Mondrian. It allows her to redefine the relationship between Symbolism and abstract art, and to contribute new methodological perspectives to comparative studies of poetry and painting. The late nineteenth and early twentieth century was a crucial period in the emergence of new modes of representation, (...) and is currently at the forefront of critical enquiry. This is the first book to examine Symbolism and abstraction in this way, and the first to treat these poets and painters together. It is an original contribution to interdisciplinary scholarship in art history, literary history, and comparative aesthetics. (shrink)