Towards a New Foundation of Dialectical Materialism
Author: Slavoj Žižek
Publisher: Verso Trade
"In this major new work the leading philosopher Slavoj éZiézek argues that philosophical materialism has failed to meet the key scientific, theoretical and political challenges of the modern world, from relativity theory and quantum physics to Freudian psychoanalysis and the failure of twentieth-century Communism. To bring materialism up to date, éZiézek proposes a new foundation for dialectical materialism. He argues that dialectical materialism is the only true philosophical inheritor of what Hegel designates as the speculative approach of thought - all other forms of materialism fail. In Absolute Recoil, éZiézek offers a startling reformulation of the ground and possibilities of contemporary philosophy"--
Postmodern Theology consists in a sharp-edged retrospective and reflection on the forty-year history of the most important movement in contemporary religious thought that is only now passing from the scene. The author, Dr. Carl Raschke, is generally credited with having sparked the movement, even if he did not always happen to be its leading spokesperson. Not only has a comprehensive survey of postmodern theology in all its different phases and complexity not been published prior to the appearance of this book, but it is even more remarkable for someone who both "launched" it and had a central role in shepherding it along to offer what may be termed a "movement memoir." Postmodern Theology surveys and summarizes the major figures and trends that have given currency to such familiar expressions as "deconstruction," "deconstructive theology," "radical theology," "a/theology," "God is dead," and of course, "postmodernism" itself. Dr. Raschke also contextualizes the emergence of these catchy phrases from a frothy soup of new intellectual theories and philosophical innovations, which were international in scope but customized for both academic and popular religious writers--mainly in Britain and America--from the late 1960s onward.
Confabulation is a drawing together through storytelling. Fundamental to our perception, memory, and thought is the way we join fractured experiences to construct a narrative. Confabulations: Storytelling in Architecture weaves together poetic ideas, objects, and events and returns you to everyday experiences of life through juxtapositions with dreams, fantasies, and hypotheticals. It follows the intellectual and creative framework of architectural cosmopoesis developed and practiced by the distinguished thinker, architect, and professor Dr. Marco Frascari, who thought deeply about the role of storytelling in architecture. Bringing together a collection of 24 essays from a diverse and respected group of scholars, this book presents the convergence of architecture and storytelling across a broad temporal, geographic, and cultural range. Beginning with an introduction framing the topic, the book is organized along a continuous thread structured around four key areas: architecture of stories, stories of architecture, stories of theory and practice of stories. Beautifully illustrated throughout and including a 64-page full colour section, Confabulations is an insightful investigation into architectural narratives.
Probably the most famous living philosopher, Slavoj Žižek explores the concept of 'event', in the second in this new series of easily digestible philosophy Agatha Christie's 4.50 from Paddington opens on a train from Scotland to London where Elspeth McGillicudy, on a way to visit her old friend Jane Marple, sees a woman strangled in a compartment of a passing train (the 4.50 from Paddington). It all happens very fast and in a blurred vision, so the police don't take Elspeth's report seriously as there is no evidence of wrongdoing; only Miss Marple believes her story and starts to investigate... This is an event at its purest and minimal: something shocking that happens all of a sudden and interrupts the usual flow of things; something that appears out of nowhere, without discernible causes, and whose ontological status is unclear - an appearance without solid being as its foundation. In Christie's novel, the role of Miss Marple is precisely to de-eventalize the event, to explain it away as an occurrence which fits the coordinates of our normal reality. A subject for which there is not yet an agreed-upon definition within philosophy, Slavoj Žižek explores the terrain of this contestable term in a series of short chapters that examine everything from the event as political revolution and the rise of a new art form to the event as religious belief and falling in love. Event is a mind-blowing, thrilling, accessible book from arguably our greatest living cultural theorist and philosopher. Slavoj Žižek is a Slovenian philosopher and cultural critic. The author of many books, he has made contributions to political theory, film theory and theoretical psychoanalysis.
What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music's essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths. The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art. Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music's effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.
Glassary is a companion volume to Glas. It offers English readers fuller access to the masterwork of Jacques Derrida, the leading philosopher in France. Derrida is important for his investigations of language, philosophy, and writing. He has perforated the boundaries between academic disciplines, has demonstrated the theological underpinnings of apparently atheological philosophies, and has thrown into question traditional notions about the "ownership" of ideas. Glas exemplifies Derrida's methodology of reading and his central philosophical and literary concerns. The reader fascinated by its complexities will appreciate the assistance of Glassary. Written by the chief translator of Glas, John P. Leavey, Jr., it includes an essay by Gregory Ulmer and a foreword by Jacques Derrida. The book provides all of the apparatus a reader of Glas might immediately desire, including notes on difficult or ambiguous passages, identifications of allusions and puns, locations of citations, and translations of passages in languages other than French. But Leavey does not stop there. He includes a glossary of use to readers of Glas in any language and essays that relate it to Derrida's texts and to the modern French critical enterprise as a whole. Leavey's essay focuses on Glas and literature and philosophy; Ulmer's on Glas and psychoanalysis.