They envisioned a brave new world, and what they got was fascism. As vibrant as its counterparts in Paris, Munich, and Milan, the avant-garde of Florence rose on a wave of artistic, political, and social idealism that swept the world with the arrival of the twentieth century. How the movement flourished in its first heady years, only to flounder in the bloody wake of World War I, is a fascinating story, told here for the first time. It is the history (...) of a whole generation's extraordinary promise--and equally extraordinary failure. The "decadentism" of D'Annunzio, the philosophical ideals of Croce and Gentile, the politics of Italian socialism: all these strains flowed together to buoy the emerging avant-garde in Florence. Walter Adamson shows us the young artists and writers caught up in the intellectual ferment of their time, among them the poet Giovanni Papini, the painter Ardengo Soffici, and the cultural critic Giuseppe Prezzolini. He depicts a generation rejecting provincialism, seeking spiritual freedom in Paris, and ultimately blending the modernist style found there with their own sense of toscanità or "being Tuscan." In their journals--Leonardo, La Voce, Lacerba, and l'Italia futurista--and in their cafe life at the Giubbe Rosse, we see the avant-garde of Florence as citizens of an intellectual world peopled by the likes of Picasso, Bergson, Sorel, Unamuno, Pareto, Weininger, and William James. We witness their mounting commitment to the ideals of regenerative violence and watch their existence become increasingly frenzied as war approaches. Finally, Adamson shows us the ultimate betrayal of the movement's aspirations as its cultural politics help catapult Italy into war and prepare the way for Mussolini's rise to power. (shrink)

Gramsci, An italian marxist intellectual politically active when fascism rose and later imprisoned by mussolini, Offers a sensitive and non-Stereotyped communist interpretation of fascism. He rejected the crude "fascism as last stage of capitalism thesis," the view that it was merely the "agent of the big bourgeoisie" and even the view that it reflected a particular set of class interests. He recognized that it was not merely reactionary, That it had complex internal divisions, That it exemplified the "relative autonomy of (...) politics," and that it was best understood as a response to a "hegemonic crisis.". (shrink)

Adamson argues that Marxism "teaches us how to interpret social and historical reality, and to relate that interpretation to our current political concerns.".

Helmut Fleischer has distinguished three different approaches to history in the development of Marx's thinking: the "anthropological" , the "pragmatological" , and the "nomological" . However, these represent a less continuous and coherent development than Fleischer claims. The 1857 Introduction to the Grundrisse can be instanced as a fourth view, more focused than the others on historiography, and at variance with what Marx says elsewhere. The sequence and overlapping of these four views call into question both the interpretation of Marx's (...) development as smoothly continuous and the interpretation of his development as "ruptured" into "early" and "late.". (shrink)

Designed to introduce beginning students of philosophy to a number of problems which are appropriate subjects for reflection. These problems relate to the human condition, human nature, the definition of the good life, authority, & freedom, the religious quest, & the future.

Establishing a link between phenomenology and hermeneutics as seen by philosophers and as applied by students of religion is the pioneering aim of this book. No existing book ties together the cross-disciplinary strands in a way that is useful for religious studies. A phenomenological and therefore hermeneutical approach to religion "prides itself on being aware of its own presuppositions and those of others that are brought to bear on data to be interpreted." Thus it "seeks to gain an access to (...) the religious worlds of other peoples in as pure a form as possible." Phenomenological hermeneutics differs from the traditional comparative study of religion in an important way: the new method attempts an empathic understanding of religious experiences before making any comparisons or drawing any inferences. Part I shows how the phenomenological approach must arise from a "crisis of doubt within the prevailing tradition." It goes on to compare this approach to the mystics' understanding of the "scope and limitations of rational consciousness," contrasting it with the nominalists' dichotomy between faith and reason. Part II starts with Eliade's "creative hermeneutics," which holds that an object or an act becomes real only insofar as it imitates or repeats an archetype, particularly the archetype of the sacred. It goes on to develop Cassirer's point that "myth is a particular way of seeing." Part Ill starts by showing how art, like religion, is an "imitation of an archetype." It goes on to apply hermeneutical phenomenology to the interpretation of ritual. "Ritual gesture," Chapter 6 argues, "thematizes the world," establishing a mystical symbolic relationship between body and world, the seen and the unseen. Part Ill continues with a critique of the writings of Carlos Castaneda, arguing that these contain "the symbolic elements of both archaic shamanism and classical mysticism." The final chapter treats the "three-tiered cosmos" that is universal in folklore: the tier of family-home-land-artifacts, the tier of clan-tribe-nation, and the tier of weather-seasons-natural forces, Each tier has its loric power, and these powers are united by shamans and mystics in one sacred "kingdom of power.". (shrink)

Terry Eagleton, On Evil, 192 pp. ISBN: 978-0300151060 hardback. “Evil is going on,” declared Willie Dixon in his classic Chicago blues song about adulte...

Contrary to political rhetorics of market economy and democracy the so-called "transformation " of the former GDR - attempted to start a quick and nevertheless extensive social change - is in reality a change with little room for spontaneous order or self-organization, for social evolution or development. Analyzing this example this essay tries to work out the structural dynamics of social evolution and to demonstrate the diverse control media and alternative steering strategies available in postindustrial societies.

In the summer of 1997 one could scarcely enter a bookstore in Beijing without encountering Wang Xiaobo's pensive and defiant look on the cover of dozens of books displayed at the entrance. Wang had suddenly died in the spring of that year at the age of forty-five. Born in Beijing in 1952 to a family of intellectuals, he remained attached to China's capital despite periods of separation, such as during the Cultural Revolution, when he was sent to Yunnan to "learn (...) from the peasants" and taught in a "people-run-school" in Shandong, and also during the 1980s, when he studied in the United States . Wang always returned to Beijing, in the late 1970s to study economy and business at the People's University and in the late 1980s to teach there. After retiring in 1993, he devoted his time to writing: poetry, novels, essays, non-fiction, and a movie script. (shrink)