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This book explores the significance of human animality in the philosophy of Friedrich Nietzsche and provides the first systematic treatment of the animal theme in Nietzsche's corpus as a whole Lemm argues that the animal is neither a random theme nor a metaphorical device in Nietzsche's thought. Instead, it stands at the center of his renewal of the practice and meaning of philosophy itself. Lemm provides an original contribution to on-going debates on the essence of humanism and its future. At the center of this new interpretation stands Nietzsche's thesis that animal life and its potential for truth, history, and morality depends on a continuous antagonism between forgetfulness (animality) and memory (humanity). This relationship accounts for the emergence of humanity out of animality as a function of the antagonism between civilization and culture. By taking the antagonism of culture and civilization to be fundamental for Nietzsche's conception of humanity and its becoming, Lemm gives a new entry point into the political significance of Nietzsche's thought. The opposition between civilization and culture allows for the possibility that politics is more than a set of civilizational techniques that seek to manipulate, dominate, and exclude the animality of the human animal. By seeing the deep-seated connections of politics with culture, Nietzsche orients politics beyond the domination over life and, instead, offers the animality of the human being a positive, creative role in the organization of life. Lemm's book presents Nietzsche as the thinker of an emancipatory and affirmative biopolitics. This book will appeal not only to readers interested in Nietzsche, but also to anyone interested in the theme of the animal in philosophy, literature, cultural studies and the arts, as well as those interested in the relation between biological life and politics.
Many contemporary constructivists are particularly attuned to Dewey's penetrating criticism of traditional epistemology, which offers rich alternatives for understanding processes of learning and education, knowledge and truth, and experience and culture. This book, the result of cooperation between the Center for Dewey Studies at Southern Illinois University Carbondale, and the Dewey Center at the University of Cologne, provides an excellent example of the international character of pragmatist studies against the backdrop of constructivist concerns. As a part of their exploration of the many points of contact between classical pragmatism and contemporary constructivism, its contributors turn their attention to theories of interaction and transaction, communication and culture, learning and education, community and democracy, theory and practice, and inquiry and methods. Part One is a basic survey of Dewey's pragmatism and its implications for contemporary constructivism. Part Two examines the implications of the connections between Deweyan pragmatism and contemporary constructivism. Part Three presents a lively exchange among the contributors, as they challenge one another and defend their positions and perspectives. As they seek common ground, they articulate concepts such as power, truth, relativism, inquiry, and democracy from pragmatist and interactive constructivist vantage points in ways that are designed to render the preceding essays even more accessible. This concluding discussion demonstrates both the enduring relevance of classical pragmatism and the challenge of its reconstruction from the perspective of the Cologne program of interactive constructivism.
In this risk-taking book, a major feminist philosopher engages the work of the actor and director who has progressed from being the stereotypical “man’s man” to pushing the boundaries of the very genres—the Western, the police thriller, the war or boxing movie—most associated with American masculinity. Cornell’s highly appreciative encounter with the films directed by Clint Eastwood revolve around the questions “What is it to be a good man?” and “What is it to be, not just an ethical person, but specifically an ethical man?” Focusing on Eastwood as a director rather than as an actor or cultural icon, she studies Eastwood in relation to major philosophical and ethical themes that have been articulated in her own life’s work. In her fresh and revealing readings of the films, Cornell takes up pressing issues of masculinity as it is caught up in the very definition of ideas of revenge, violence, moral repair, and justice. Eastwood grapples with this involvement of masculinity in and through many of the great symbols of American life, including cowboys, boxing, police dramas, and ultimately war—perhaps the single greatest symbol of what it means (or is supposed to mean) to be a man. Cornell discusses films from across Eastwood’s career, from his directorial debut with Play Misty for Me to Million Dollar Baby. Cornell’s book is not a traditional book of film criticism or a cinematographic biography. Rather, it is a work of social commentary and ethical philosophy. In a world in which we seem to be losing our grip on shared symbols, along with community itself, Eastwood’s films work with the fragmented symbols that remain to us in order to engage masculinity with the most profound moral and ethical issues facing us today.
Musical understanding has evolved dramatically in recent years, principally through a heightened appreciation of musical meaning in its social, cultural, and philosophical dimensions. This collection of essays by leading scholars addresses an aspect of meaning that has not yet received its due: the relation of meaning in this broad humanistic sense to the shaping of fundamental values. The volume examines the open and active circle between the values and valuations placed on music by both individuals and societies, and the discovery, through music, of what and how to value. With a combination of cultural criticism and close readings of musical works, the contributors demonstrate repeatedly that to make music is also to make value, in every sense. They give particular attention to values that have historically enabled music to assume a formative role in human societies: to foster practices of contemplation, fantasy, and irony; to explore sexuality, subjectivity, and the uncanny; and to articulate longings for unity with nature and for moral certainty. Each essay in the collection shows, in its own way, how music may provoke transformative reflection in its listeners and thus help guide humanity to its own essential embodiment in the world. The range of topics is broad and developed with an eye both to the historical specificity of values and to the variety of their possible incarnations. The music is both canonical and noncanonical, old and new. Although all of it is “classical,” the contributors’ treatment of it yields conclusions that apply well beyond the classical sphere. The composers discussed include Gabrieli, Marenzio, Haydn, Beethoven, Mendelssohn, Brahms, Wagner, Puccini, Hindemith, Schreker, and Henze. Anyone interested in music as it is studied today will find this volume essential reading.
Massimo Cacciari is one of the leading public intellectuals in today's Italy, both as an outstanding philosopher and political thinker and as now three times (and currently) the mayor of Venice. This collection of essays on political topics provides the best introduction in English to his thought to date. The political focus does not, however, prevent these essays from being an introduction to the full range of Cacciari's thought. The present collection includes chapters on Hofmannstahl, Lukács, Benjamin, Nietzsche, Weber, Derrida, Schmitt, Canetti, and Aeschylus. Written between 1978 and 2006, these essays engagingly address the most hidden tradition in European political thought: the Unpolitical. Far from being a refusal of politics, the Unpolitical represents a merciless critique of political reason and a way out of the now impracticable consolations of utopia and harmonious community. Drawing freely from philosophy and literature, The Unpolitical represents a powerful contribution to contemporary political theory. A lucid and engaging Introdcution by Alessandro Carrera sets these essays in the context of Cacciari's work generally and in the broadest context of its historical and geographical backdrop.
The "place" in the title of Claudia Brodsky's remarkable new book is the intersection of language with building, the marking, for future reference, of material constructions in the world. The "referent" Brodsky describes is not something first found in nature and then named but a thing whose own origin joins language with materiality, a thing marked as it is made to begin with. In the Place of Language: Literature and the Architecture of the Referent develops a theory of the "referent" that is thus also a theory of the possibility of historical knowledge, one that undermines the conventional opposition of language to the real by theories of nominalism and materialism alike, no less than it confronts the mystical conflation of language with matter, whether under the aegis of the infinite reproducibility of the image or the identification of language with "Being. "Challenging these equally naive views of language - as essentially immaterial or the only essential matter - Brodsky investigates the interaction of language with the material that literature represents. For literature, Brodsky argues, seeks no refuge from its own inherently iterable, discursive medium in dreams of a technologically-induced freedom from history or an ontological history of language-being. Instead it tells the complex story of historical referents constructed and forgotten, things built into the earth upon which history "takes place" and of which, in the course of history, all visible trace is temporarily effaced. Literature represents the making of history, the building and burial of the referent, the present world of its oblivion and the future of its unearthing, and it can do this because, unlike the historical referent, it literally takes no place, is not tied to any building or performance in space. For the same reason literature can reveal the historical nature of the making of meaning, demonstrating that the shaping and experience of the real, the marking of matter that constitutes historical referents, also defers knowledge of the real to a later date. Through close readings of central texts by Goethe, Plato, Kant, Heidegger, and Benjamin, redefined by the interrelationship of building and language they represent, In the Place of Language analyzes what remains of actions that attempt to take the place of language: the enduring, if intermittently obscured bases, of theoretical reflection itself.
Recipes to help you build computer vision applications that make the most of the popular C++ library OpenCV 3 About This Book • Written to the latest, gold-standard specification of OpenCV 3 • Master OpenCV, the open source library of the computer vision community • Master fundamental concepts in computer vision and image processing • Learn about the important classes and functions of OpenCV with complete working examples applied to real images Who This Book Is For OpenCV 3 Computer Vision Application Programming Cookbook Third Edition is appropriate for novice C++ programmers who want to learn how to use the OpenCV library to build computer vision applications. It is also suitable for professional software developers who wish to be introduced to the concepts of computer vision programming. It can also be used as a companion book for university-level computer vision courses. It constitutes an excellent reference for graduate students and researchers in image processing and computer vision. What You Will Learn • Install and create a program using the OpenCV library • Process an image by manipulating its pixels • Analyze an image using histograms • Segment images into homogenous regions and extract meaningful objects • Apply image filters to enhance image content • Exploit the image geometry in order to relay different views of a pictured scene • Calibrate the camera from different image observations • Detect people and objects in images using machine learning techniques • Reconstruct a 3D scene from images In Detail Making your applications see has never been easier with OpenCV. With it, you can teach your robot how to follow your cat, write a program to correctly identify the members of One Direction, or even help you find the right colors for your redecoration. OpenCV 3 Computer Vision Application Programming Cookbook Third Edition provides a complete introduction to the OpenCV library and explains how to build your first computer vision program. You will be presented with a variety of computer vision algorithms and exposed to important concepts in image and video analysis that will enable you to build your own computer vision applications. This book helps you to get started with the library, and shows you how to install and deploy the OpenCV library to write effective computer vision applications following good programming practices. You will learn how to read and write images and manipulate their pixels. Different techniques for image enhancement and shape analysis will be presented. You will learn how to detect specific image features such as lines, circles or corners. You will be introduced to the concepts of mathematical morphology and image filtering. The most recent methods for image matching and object recognition are described, and you'll discover how to process video from files or cameras, as well as how to detect and track moving objects. Techniques to achieve camera calibration and perform multiple-view analysis will also be explained. Finally, you'll also get acquainted with recent approaches in machine learning and object classification. Style and approach This book will arm you with the basics you need to start writing world-aware applications right from a pixel level all the way through to processing video sequences.
Increase speed and performance of your applications with efficient data structures and algorithms About This Book * See how to use data structures such as arrays, stacks, trees, lists, and graphs through real-world examples * Find out about important and advanced data structures such as searching and sorting algorithms * Understand important concepts such as big-o notation, dynamic programming, and functional data structured Who This Book Is For This book is for R developers who want to use data structures efficiently. Basic knowledge of R is expected. What You Will Learn * Understand the rationality behind data structures and algorithms * Understand computation evaluation of a program featuring asymptotic and empirical algorithm analysis * Get to know the fundamentals of arrays and linked-based data structures * Analyze types of sorting algorithms * Search algorithms along with hashing * Understand linear and tree-based indexing * Be able to implement a graph including topological sort, shortest path problem, and Prim's algorithm * Understand dynamic programming (Knapsack) and randomized algorithms In Detail In this book, we cover not only classical data structures, but also functional data structures. We begin by answering the fundamental question: why data structures? We then move on to cover the relationship between data structures and algorithms, followed by an analysis and evaluation of algorithms. We introduce the fundamentals of data structures, such as lists, stacks, queues, and dictionaries, using real-world examples. We also cover topics such as indexing, sorting, and searching in depth. Later on, you will be exposed to advanced topics such as graph data structures, dynamic programming, and randomized algorithms. You will come to appreciate the intricacies of high performance and scalable programming using R. We also cover special R data structures such as vectors, data frames, and atomic vectors. With this easy-to-read book, you will be able to understand the power of linked lists, double linked lists, and circular linked lists. We will also explore the application of binary search and will go in depth into sorting algorithms such as bubble sort, selection sort, insertion sort, and merge sort. Style and approach This easy-to-read book with its fast-paced nature will improve the productivity of an R programmer and improve the performance of R applications. It is packed with real-world examples.
Let It Shine! probes the distinctive contribution of black Catholics to the life of the American church, and to the unfolding of lived Christianity in the United States. This important book explores the powerful spiritual renaissance that has marked African American life and selfunderstanding over the last several decades by examining one critical dimension: the forging of new expressions of Catholic worship rooted in the larger Catholic tradition, yet shaped in unique ways by African American religious culture. Starting with the 1960s, the book traces the dynamic interplay of social change, cultural awakening, and charismatic leadership that have sparked the emergence of distinctive styles of black Catholic worship. In their historical overview, McGann and Eva Marie Lumas chronicle the liturgical and pastoral issues of a black Catholic liturgical movement that has transformed the larger American church. McGann then examines the foundational vision of Rev. Clarence R. J. Rivers, who promoted forms of black worship, music, preaching, and prayer that have enabled African American Catholics to reclaim the fullness of their religious identity. Finally, Harbor constructs a black Catholic aesthetic based on the theological, ethical, and liturgical insights of four African American scholars, expressed through twenty-three performative values. This liturgical aesthetic illuminates the distinctive gift of black Catholics to the multicultural tapestry of lived faith in the American church and can also serve as a pastoral model for other cultural communities. Blending history, theology, and liturgy, Let It Shine! is a valuable resource for scholars, teachers, and students and a practical pastoral guide to bringing African American spirituality more firmly into the sacramental life of American parishes.
Scare Tactics identifies an important but overlooked tradition of supernatural writing by American women. Jeffrey Weinstock analyzes this tradition as an essentially feminist attempt to imagine alternatives to a world of limited possibilities. In the process, he recovers the lives and works of authors who were important during their lifetimes and in the development of the American literary tradition, but who are not recognized today for their contributions. Between the end of the Civil War and roughly 1930, hundreds of uncanny tales were published by women in the periodical press and in books. These include stories by familiar figures such as Edith Wharton, Harriet Beecher Stowe, and Charlotte Perkins Gilman, as well as by authors almost wholly unknown to twenty-first-century readers, such as Josephine Dodge Bacon, Alice Brown, Emma Frances Dawson, and Harriet Prescott Spofford. Focusing on this tradition of female writing offers a corrective to the prevailing belief within American literary scholarship that the uncanny tale, exemplified by the literary productions of Irving, Poe, and Hawthorne, was displaced after the Civil War by literary realism. Beyond the simple existence of an unacknowledged tradition of uncanny literature by women, Scare Tactics makes a strong case that this body of literature should be read as a specifically feminist literary tradition. Especially intriguing, Weinstock demonstrates, is that women authors repeatedly used Gothic conventions to express discontentment with circumscribed roles for women creating types of political intervention connected to the broader sphere of women's rights activism. Paying attention to these overlooked authors helps us better understand not only the literary marketplace of their time, but also more familiar American Gothicists from Edgar Allan Poe to Shirley Jackson to Stephen King.
A current truism holds that the undergraduate degree today is equivalent to the high-school diploma of yesterday. But undergraduates at a research university would probably not recognize themselves in the historical mirror of high-school vocational education. Students in a vast range of institutions are encouraged to look up the educational social scale, whereas earlier vocational education was designed to “cool out” expectations of social advancement by training a working class prepared for massive industrialization. In Class Degrees, Evan Watkins argues that reforms in vocational education in the 1980s and 1990s can explain a great deal about the changing directions of class formation in the United States, as well as how postsecondary educational institutions are changing. Responding to a demand for flexibility in job skills and reflecting a consequent aspiration to choice and perpetual job mobility, those reforms aimed to eliminate the separate academic status of vocational education. They transformed it from a “cooling out” to a “heating up” of class expectations. The result has been a culture of hyperindividualism. The hyperindividual lives in a world permeated with against-all-odds plots, from “beat the odds” of long supermarket checkout lines by using self-checkout and buying FasTrak transponders to beat the odds of traffic jams, to the endless superheroes on film and TV who daily save various sorts of planets and things against all odds. Of course, a few people can beat the odds only if most other people do not. As choice begins to replace the selling of individual labor at the core of contemporary class formation, the result is a sort of waste labor left behind by the competitive process. Provocatively, Watkins argues that, in the twenty-first century, academic work in the humanities is assuming the management function of reclaiming this waste labor as a motor force for the future.
Fordham University is the quintessential American-Catholic institution—and one now looked upon as among the best Catholic universities in the country. Its story is also the story of New York, especially the Bronx, and Fordham’s commitment to the city during its rise, fall, and rebirth. It’s a story of Jesuits, soldiers, alumni who fought in World Wars, chaplains, teachers, and administrators who made bold moves and big mistakes, of presidents who thought small and those who had vision. And of the first women, students and faculty, who helped bring Fordham into the 20th century. Finally it’s the story of an institution’s attempt to keep its Jesuit and Catholic identity as it strives for leadership in a competitive world. Combining authoritative history and fascinating anecdotes, Schroth offers an engaging account of Fordham’s one hundred thirrty-seven years—here, updated, revised, and expanded to cover the new presidency of Joseph M. McShane, S.J., and the challenges Fordham faces in the new century.
Written in the wake of Jacques Derrida's death in 2004, Derrida From Now On attempts both to do justice to the memory of Derrida and to demonstrate the continuing significance of his work for contemporary philosophy and literary theory. If Derrida's thought is to remain relevant for us today, it must be at once understood in its original context and uprooted and transplanted elsewhere. Michael Naas thus begins with an analysis of Derrida's attachment to the French language, to Europe, and to European secular thought, before turning to Derrida's long engagement with the American context and to the ways in which deconstruction allows us to rethink the history, identity, and promise of post-9/11 America. Taking as its point of departure several of Derrida's later works (from "Faith and Knowledge" and The Work of Mourning to Rogues and Learning to Live Finally), the book demonstrates how Derrida's analyses of the phantasms of sovereignty, the essential autoimmunity of democracy or religion, or the impossible mourning of the nation-state can help us to understand what is happening today in American culture, literature, and politics. Though Derrida's thought has always lived on only by being translated elsewhere, his disappearance will have driven home this necessity with a new force and an unprecedented urgency. Derrida From Now On is an effect of this force and an attempt to respond to this urgency.
Can the subaltern joke? Christi A. Merrill answers by invoking riddling, oral-based fictions from Hindi, Rajasthani, Sanskrit, and Urdu that dare to laugh at what traditions often keep hidden-whether spouse abuse, ethnic violence, or the uncertain legacies of a divinely wrought sex change. Herself a skilled translator, Merrill uses these examples to investigate the expectation that translated work should allow the non-English-speaking subaltern to speak directly to the English-speaking reader. She plays with the trope of speaking to argue against treating a translated text as property, as a singular material object to be "carried across" (as trans-latus implies.) She refigures translation as a performative "telling in turn," from the Hindi word anuvad, to explain how a text might be multiply possessed. She thereby challenges the distinction between "original" and "derivative," fundamental to nationalist and literary discourse, humoring our melancholic fixation on what is lost. Instead, she offers strategies for playing along with the subversive wit found in translated texts. Sly jokes and spirited double entendres, she suggests, require equally spirited double hearings. The playful lessons offered by these narratives provide insight into the networks of transnational relations connecting us across a sea of differences. Generations of multilingual audiences in India have been navigating this "Ocean of the Stream of Stories" since before the 11th century, arriving at a fluid sense of commonality across languages. Salman Rushdie is not the first to pose crucial questions of belonging by telling a version of this narrative: the work of non-English-language writers like Vijay Dan Detha, whose tales are at the core of this book, asks what responsibilities we have to make the rights and wrongs of these fictions come alive "age after age."
True disagreements are hard to achieve, and even harder to maintain, for the ghost of final agreement constantly haunts them. The Babylonian Talmud, however, escapes from that ghost of agreement, and provokes unsettling questions: Are there any conditions under which disagreement might constitute a genuine relationship between minds? Are disagreements always only temporary steps toward final agreement? Must a community of disagreement always imply agreement, as in an agreement to disagree? What is Talmud? rethinks the task of philological, literary, historical, and cultural analysis of the Talmud. It introduces an aspect of this task that has best been approximated by the philosophical, anthropological, and ontological interrogation of human being in relationship to the Other-whether animal, divine, or human. In both engagement and disengagement with post-Heideggerian traditions of thought, Sergey Dogopolski complements philological-historical and cultural approaches to the Talmud with a rigorous anthropological, ontological, and Talmudic inquiry. He redefines the place of the Talmud and its study, both traditional and academic, in the intellectual map of the West, arguing that Talmud is a scholarly art of its own and represents a fundamental intellectual discipline, not a mere application of logical, grammatical, or even rhetorical arts for the purpose of textual hermeneutics. In Talmudic intellectual art, disagreement is a fundamental category. What Is Talmud? rediscovers disagreement as the ultimate condition of finite human existence or co-existence.
W. Norris Clarke has chosen the fifteen essays in this collection, five of which appear here for the first time, as the most significant of the more than seventy he has written over the course of a long career. Clarke is known for his development of a Thomistic personalism. To be a person, according to Saint Thomas, is to take conscious self-possession of one's own being, to be master of oneself. But our incarnate mode of being human involves living in a body whose life unfolds across time, and is inevitably dispersed across time. If we wish to know fully who we are, we need to assimilate and integrate this dispersal, so that our lives become a coherent story. In addition to the existentialist thought of Etienne Gilson and others, Clarke draws on the Neoplatonic dimension of participation. Existence as act and participation have been the central pillars of his metaphysical thought, especially in its unique manifestation in the human person. The essays collected here cover a wide range of philosophical, ethical, religious, and aesthetic topics. Through them sounds a very personal voice, one that has inspired generations of students and scholars.
This book brings together an international roster of renowned scholars from disciplines including philosophy, political theory, intellectual history, and literary studies to address the conceptual foundations of the humanities and the question of their future. What notions of the future, of the human, and of finitude underlie recurring anxieties about the humanities in our current geopolitical situation? How can we think about the unpredictable and unthought dimensions of praxis implicit in the very notion of futurity? The essays here argue that the uncertainty of the future represents both an opportunity for critical engagement and a matrix for invention. Broadly conceived, the notion of invention, or cultural poiesis, questions the key assumptions and tasks of a whole range of practices in the humanities, beginning with critique, artistic practices, and intellectual inquiry, and ending with technology, emancipatory politics, and ethics. The essays discuss a wide range of key figures (e.g., Deleuze, Freud, Lacan, Foucault, Kristeva, Irigaray), problems (e.g., becoming, kinship and the foreign, "disposable populations" within a global political economy, queerness and the death drive, the parapoetic, electronic textuality, invention and accountability, political and social reform in Latin America), disciplines and methodologies (philosophy, art and art history, visuality, political theory, criticism and critique, psychoanalysis, gender analysis, architecture, literature, art). The volume should be required reading for all who feel a deep commitment to the humanities, its practices, and its future.
Five dishonored soldiers.Former Special Forces.One last mission.These are the men of Hard Ink.Beckett Murda hates to dwell on the past. But his investigation into the ambush that killed half his Special Forces team and ended his Army career gives him little choice. Just when his team learns how powerful their enemies are, hard-ass Beckett encounters his biggest complication yet--a seductive, feisty Katherine Rixey.A tough, stubborn prosecutor, Kat visits her brothers' Hard Ink Tattoo shop following a bad break-up--and finds herself staring down the barrel of a stranger's gun. Beckett is hard-bodied and sexy as hell, but he's also the most infuriating man ever. Worse, Kat's brothers are at war with the criminals her office is investigating. When Kat joins the fight, she lands straight in Beckett's sights . . . and in his arms. Not to mention their enemies' crosshairs. Now Beckett and Kat must set aside their differences to work together, because the only thing sweeter than justice is finding love and never letting go.
Five dishonored soldiers.Former Special Forces.One last mission.These are the men of Hard Ink.Derek DiMarzio would do anything for the members of his disgraced Special Forces team--sacrifice his body, help a former teammate with a covert operation to restore their honor, and even go behind enemy lines. He just never expected to want the beautiful woman he found there.When a sexy stranger asks questions about her brother, Emilie Garza is torn between loyalty to the sibling she once idolized and fear of the war-changed man he's become. Derek's easy smile and quiet strength tempt Emilie to open up, igniting their desire and leading Derek to crave a woman he shouldn't trust.As the team's investigation reveals how powerful their enemies are, Derek and Emilie must prove where their loyalties lie before hearts are broken and lives are lost. Because love is too hard to come by to let it slip away . . .
Five dishonored soldiers.Former Special Forces.One last mission.These are the men of Hard Ink.Ever since hard-bodied, drop-dead-charming Shane McCallan strolled into the dance club where Crystal Dean works, he's shown a knack for getting beneath her defenses. For her little sister's sake, Crystal can't get too close. Until her job and Shane's mission intersect, and he reveals talents that go deeper than she could have guessed.Shane would never turn his back on a friend in need, especially a former Special Forces teammate running a dangerous, off-the-books operation. Nor can he walk away from Crystal. The gorgeous waitress is hiding secrets she doesn't want him to uncover. Too bad. He's exactly the man she needs to protect her sister, her life, and her heart. All he has to do is convince her that when something feels this good, you hold on as hard as you can--and never let go.
In The Crane's Walk, Jeremy Barris seeks to show that we can conceive and live with a pluralism of standpoints with conflicting standards for truth--with the truth of each being entirely unaffected by the truth of the others. He argues that Plato's work expresses this kind of pluralism, and that this pluralism is important in its own right, whether or not we agree about what Plato's standpoint is. The longest tradition of Plato scholarship identifies crucial faults in Plato's theory of Ideas. Barris argues that Plato deliberately displayed those faults, because he wanted to demonstrate that basic kinds of error or illogic have dimensions that are crucial to the establishing of truth. These dimensions legitimate a paradoxical coordination of logically incompatible conceptions of truth. Connecting this idea with emerging currents of Plato scholarship, he emphasizes, in addition to the dialogues' arguments, the importance of their nonargumentative features, including drama, myths, fictions, anecdotes, and humor. These unanalyzed nonargumentative features function rigorously, as a lever with which to examine the enterprise of rational argument itself, without presupposing its standards or illegitimately assimilating any position to the standards of another. Today, communities are torn apart by conflicts within and between a host of different pluralist and absolutist commitments. The possibility developed in this book-a coordination of absolute and relative truth that allows an understanding of some relativist and some absolutist positions as being fully legitimate and as capable of existing in a relation to their opposites-may contribute to perspectives for resolving these conflicts.
For more than thirty years, the journal Italian Americana has been home to the writers who have sparked an extraordinary literary explosion in Italian-American culture. Across twenty-five volumes, its poets, memoirists, story-tellers, and other voices bridged generations to forge a brilliant body of expressive works that help define an Italian-American imagination. Wild Dreams offers the very best from those pages: sixty-three pieces—fiction, memoir, poetry, story, and interview—that range widely in style and sentiment, tracing the arc of an immigrant culture’s coming of age in America. What stories do Italian Americans tell about themselves? How do some of America’s best writers deal with complicated questions of identity in their art? Organized by provocative themes—Ancestors, The Sacred and the Profane, Love and Anger, Birth and Death, Art and Self—the selections document the evolution of Italian-American literature. From John Fante’s “My Father’s God,” his classic story of religious subversion and memoirs by Dennis Barone and Jerre Mangione to a brace of poets, selected by Dana Gioia and Michael Palma, ranging from John Ciardi, Jay Parini, and Mary Jo Salter to George Guida and Rachel Guido de Vries. There are also stories alive with the Italian folk tradition (Tony Ardizzone and Louisa Ermelino), and others sleekly experimental (Mary Caponegro, Rosalind Palermo Stevenson). Other pieces—including an unforgettable interview with Camille Paglia—are Italian-American takes on the culture at large.
Across the country, in the middle of busy city squares and hidden on quiet streets, there are nearly 200 statues erected in memory of Abraham Lincoln. No other American has ever been so widely commemorated. A few years ago, anticipating the bicentennial of Lincoln’s birth in 2009, Jim Percoco, a history teacher with a passion for both Lincoln and public sculpture, set off to see what he might learn about some of these monuments—what they meant when they were unveiled, and what they mean to us today. The result is this captivating book, a fascinating chronicle of four summers on the road looking for Lincoln stories in statues of marble and bronze. Of all the monuments, Percoco selects seven emblematic ones. He begins and ends the journey in Washington, starting with Thomas Ball’s Emancipation Group, erected east of the Capitol in 1876 with private funds from African Americans, and dedicated by Frederick Douglass. Here, Percoco and his multi-ethnic band of teenage historians explore the impact of this Freedman’s Monument showing Lincoln and a kneeling freed bondsperson. What does the statute say about race and freedom to today’s Americans? What did Ball—and his sponsors—want it to say? From Augustus Saint-Gaudens’s majestic Standing Lincoln of 1887 in Chicago, which helped move our image of Lincoln from great emancipator to that of statesman to Paul Manship’s 1932 Lincoln the Hoosier Youth, in Fort Wayne, Indiana, which glows with an art deco sleekness, Percoco mines a wealth of Lincoln legacies—and our reactions to them expressed across generations. Here are controversial gems like Barnard’s 1917 tribute in Cincinnati and Borglum’s Seated Lincoln, struggling with the pain of leadership, beckoning visitors to sit next to him on his metal bench in Newark, New Jersey. At each stop, Percoco chronicles the history of each monument, spotlighting its artistic, social, political, and cultural origins. His descriptions of works so often seen as clichés tease fresh meaning from mute stone and cold metal—raising provocative questions not just about who Lincoln might have been, but also about what we’ve wanted him to be in the monuments we’ve built.
Victor Herbert is one of the giants of American culture. As a musician, conductor, and, above all, composer, he touched every corner of American musical life at the turn of the century, writing scores of songs, marches, concerti, and other works. But his most enduring legacy is on a different kind of stage, as one of the grandfathers of the modern musical theater. Now, Victor Herbert has the biography he deserves. Neil Gould draws on his own experience as a director, producer, and scholar to craft the first comprehensive portrait in fifty years of the Irish immigrant whose extraordinary talents defined the sounds of a generation and made contemporary American music possible. Mining a wealth of sources—many for the first time—Gould provides a fascinating portrait of Herbert and his world. Born in Dublin in 1859, Herbert arrived in the United States in 1886. From his first job in the orchestra pit of the Metropolitan Opera, Herbert went on to perform in countless festivals and concerts, and conduct the Pittsburgh Orchestra. In 1894, he composed his first operetta, Prince Ananias, and by the time of his death in 1924, he’d composed forty-two more—many of them, such as Naughty Marietta, spectacular Broadway hits. Along the way, he also wrote two operas, stage music for the Ziegfeld Follies, and the first full score for a motion picture, The Fall of a Nation. Gould brilliantly blends the musical and the theatrical, classical and popular, the public and the private, in this book. He not only gives a revealing portrait of Herbert the artist, entrepreneur, and visionary, but also recreates the vibrant world of the Herbert’s Broadway. Gould takes us inside the music itself—with detailed guides to each major work and recreations of great performances. He also makes strong connections between Herbert’s breakthrough compositions, such as the operetta Mlle. Modiste, and the later contributions of Rudolf Friml, Sigmund Romberg, Jerome Kern and other giants of the musical theater. As exuberant as Herbert himself, this book is also a chronicle of American popular culture during one of its most creative periods. For anyone enraptured by the sound of the American musical, this book is delightfully required reading.
First published in 1919 by Ezra Pound, Ernest Fenollosa’s essay on the Chinese written language has become one of the most often quoted statements in the history of American poetics. As edited by Pound, it presents a powerful conception of language that continues to shape our poetic and stylistic preferences: the idea that poems consist primarily of images; the idea that the sentence form with active verb mirrors relations of natural force. But previous editions of the essay represent Pound’s understanding—it is fair to say, his appropriation—of the text. Fenollosa’s manuscripts, in the Beinecke Library of Yale University, allow us to see this essay in a different light, as a document of early, sustained cultural interchange between North America and East Asia. Pound’s editing of the essay obscured two important features, here restored to view: Fenollosa’s encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry. This book is the definitive critical edition of Fenollosa’s important work. After a substantial Introduction, the text as edited by Pound is presented, together with his notes and plates. At the heart of the edition is the first full publication of the essay as Fenollosa wrote it, accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages. Pound’s deletions, insertions, and alterations to Fenollosa’s sometimes ornate prose are meticulously captured, enabling readers to follow the quasi-dialogue between Fenollosa and his posthumous editor. Earlier drafts and related talks reveal the developmentof Fenollosa’s ideas about culture, poetry, and translation. Copious multilingual annotation is an important feature of the edition. This masterfully edited book will be an essential resource for scholars and poets and a starting point for a renewed discussion of the multiple sources of American modernist poetry.
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