First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Kant's attempt to establish the principles behind the faculty of judgment remains one of the most important works on human reason.

Now in its third edition, _Narration and Knowledge_ is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events and discusses why such sentences cannot be understood until the later event happens. Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and humanist (...) discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of _Narration and Knowledge_ and considers its enduring legacy. (shrink)

This classic analysis of Western liberal capitalist society contends that capitalism harbors the seeds of its downfall, particularly by effecting a certain cultural tendency among its most successful subjects that is bound to corrode its very foundations. As such, it is a conservative critique employing cultural concerns precisely where Marx prioritized economic ones.

I argue against two popular claims. The first is a descriptive, empirical thesis about the nature of ordinary human experience: ‘each of us constructs and lives a “narrative” . . . this narrative is us, our identities’ (Oliver Sacks); ‘self is a perpetually rewritten story . . . in the end, we become the autobiographical narratives by which we “tell about” our lives’ (Jerry Bruner); ‘we are all virtuoso novelists. . . . We try to make all of our material (...) cohere into a single good story. And that story is our autobiography. The chief fictional char- acter . . . of that autobiography is one’s self’ (Dan Dennett). The second is a normative, ethical claim: we ought to live our lives narratively, or as a story; a ‘basic condition of making sense of ourselves is that we grasp our lives in a narrative’ and have an understanding of our lives ‘as an unfolding story’ (Charles Taylor). A person ‘creates his identity [only] by forming an autobiographical narrative – a story of his life’, and must be in possession of a full and ‘explicit narrative [of his life] to develop fully as a person’ (Marya Schechtman). (shrink)

This last work by Paul de Man before his death in 1983 brings together what is essentially his complete work on the study of European Romanticism and post-Romanticism.

The sociological dimension of science is studied using the discovery of the Wasserman reaction and its accidental application as a test for syphilis as a basis, ...

This work presents analysis of the evolution and development of the social sciences. It reconsiders how knowledge actually changes and advances. Challenging the accepted belief that social sciences are in a perpetual state of progress, this work contends that there is a core set of principles.

This last work by Paul de Man before his death in 1983 brings together what is essentially his complete work on the study of European Romanticism and post-Romanticism.

The introductory chapter, entitled 'The Subject, Method and Scope of this Enquiry,' details how anthropology is to be pursued as a science and advocates the method of participant observation.

First published in 1983. Routledge is an imprint of Taylor & Francis, an informa company.

Hayden White probes the notion of authority in art and literature and examines the problems of meaning - its production, distribution, and consumption - in different historical epochs. In the end, he suggests, the only meaning that history can have is the kind that a narrative imagination gives to it. The secret of the process by which consciousness invests history with meaning resides in the content of the form, in the way our narrative capacities transforms the present into a fulfillment (...) of a past from which we would wish to have desceneded. (shrink)

John Hartley opens his short history of cultural studies by evoking a sense of the contested nature of the field in the contemporary moment and the intense debates about its objects, scope, methods, and goals: “Even within intellectual communities and academic institutions, there is little agreement about what counts as cultural studies, either as a critical practice or an institutional apparatus. On the contrary, the field is riven by fundamental disagreements about what cultural studies is for, in whose interests it (...) is done, what theories, methods and objects of study are proper to it, and where to set its limits” (1). (shrink)