"Marxism and Anthropology" is one of the most detailed philosophically-oriented attempts at explaining Marx's own position on philosophical anthropology, encompassing the organic conditions of human sociality, the humanisation of nature and the naturalisation of man. In the second decade of the 21st Century, rethinking Marx's intensely historicized conception of human nature has become an important consideration for critical and social theory due to a renewed interest in finding an anthropological basis for normatively grounding radical social critique (for example, in the works of Axel Honneth, Charles Taylor or Emmanuel Renault). György Márkus belongs to the small group of Hungarian theorists associated with Georg Lukács and usually referred to as the 'Budapest School'. He completed his philosophical training at Lomonosov University in Moscow in 1957. Due to ideological disputes, he was removed from his teaching positions in Hungary in 1973, and fled in 1977 to Australia, where he taught at the University of Sydney since 1978, retiring in 2000. This special edited reissue of Márkus' most influential work adds an introduction by Axel Honneth (Director of the Frankfurt School for Social Research) and Hans Joas (University of Freiburg).

A meditative narrative of Jewish Experience and man's relation to the world. The Book of Questions, of which volumes IV, V, VI are together published here, is a meditative narrative of Jewish Experience, and, more generally, man's relation to the world. In these volumes the word is personified in the woman Yaël, silence in her still-born child Elya. Even though words imply ambiguity and lies, they are the home of the exile. A book becomes the Book, fragments of the law that are in some way unified, where past and present, the visionary, and the common place, encounter each other. For Jabès every word is a question in the book of being. Man defines himself in the world against all that threatens his existence- death, the infinite, silence, that is, God, his primal opponent. How can one speak what cannot be spoken?

For more than forty years, the American government has struggled with the challenge of maintaining useful relations with a special breed of regime: one whose rulers profess a community of interests with the United States while they rule through authoritarian means. Relationships with such "friendly tyrants" almost invariably generate tensions between the need for prudent security strategies and the ideal of promoting liberty and human rights worldwide. The Devil and Uncle Sam: A User's Guide to the Friendly Tyrants Dilemma distills the policy lessons of over four decades and offers practical approaches to negotiating these obstinate ambiguities of contemporary political life.This User's Guide brings together a team of eminent authors with diverse talents and experience to present a comparative study of the Friendly Tyrants phenomenon in recent history and to devise a systematic set of guidelines for dealing with it. The book is organized around ten essential maxims (Beware Dependence, Be Nimble, Promote Democracy, Chastise with Care, Define Goals, Know the Country, Think It Through, Coordinate Policy, Hedge Bets, Plan for Crises) and a larger number of specific Do's and Don'ts.The Devil and Uncle Sam draws richly upon historical examples to illustrate general principles that will prove invaluable to policymakers and political analysts. The Persian Gulf*War has shown that the Friendly Tyrants problem is still with us, even in the post-Cold War environment. The authors' understanding of past patterns yields insights that should help to prevent the preventable. While new situations will create possibilities for new mistakes, old ones must not be repeated. Contributors to The Devil and Uncle Sam include, in addition to Adam Garfinkle, Daniel Pipes, Kenneth Adelman, Patrick Clawson, Mark Falcoff, and Douglas J. Feith.

This book provides a richly rewarding vision of the burgeoning interdisciplinary field of somaesthetics. Composed of fourteen wide-ranging but finely integrated essays by Richard Shusterman, the originator of the field, Thinking through the Body explains the philosophical foundations of somaesthetics and applies its insights to central issues in ethics, education, cultural politics, consciousness studies, sexuality, and the arts. Integrating Western philosophy, cognitive science, and somatic methodologies with classical Asian theories of body, mind, and action, these essays probe the nature of somatic existence and the role of body consciousness in knowledge, memory, and behavior. Deploying somaesthetic perspectives to analyze key aesthetic concepts (such as style and the sublime), he offers detailed studies of embodiment in drama, dance, architecture, and photography. The volume also includes somaesthetic exercises for the classroom and explores the ars erotica as an art of living.

This book provides a richly rewarding vision of the burgeoning interdisciplinary field of somaesthetics. Composed of fourteen wide-ranging but finely integrated essays by Richard Shusterman, the originator of the field, Thinking through the Body explains the philosophical foundations of somaesthetics and applies its insights to central issues in ethics, education, cultural politics, consciousness studies, sexuality, and the arts. Integrating Western philosophy, cognitive science, and somatic methodologies with classical Asian theories of body, mind, and action, these essays probe the nature of somatic existence and the role of body consciousness in knowledge, memory, and behavior. Deploying somaesthetic perspectives to analyze key aesthetic concepts (such as style and the sublime), he offers detailed studies of embodiment in drama, dance, architecture, and photography. The volume also includes somaesthetic exercises for the classroom and explores the ars erotica as an art of living.

In this philosophical exploration of creativity, Irving Singer describes the many different types of creativity and their varied manifestations within and across all the arts and sciences. Singer's approach is pluralistic rather than abstract or dogmatic. His reflections amplify recent discoveries in cognitive science and neurobiology by aligning them with the aesthetic, affective, and phenomenological framework of experience and behavior that characterizes the human quest for meaning. Creativity has long fascinated Singer, and in Modes of Creativity he carries forward investigations begun in earlier works. Marshaling a wealth of examples and anecdotes ranging from antiquity to the present, about persons as diverse as Albert Einstein and Sherlock Holmes, Singer describes the interactions of the creative and the imaginative, the inventive, the novel, and the original. He maintains that our preoccupation with creativity devolves from biological, psychological, and social bases of our material being; that creativity is not limited to any single aspect of human existence but rather inheres not only in art and the aesthetic but also in science, technology, moral practice, as well as ordinary daily experience.

“We have no more beginnings,” George Steiner begins in this, his most radical book to date. A far-reaching exploration of the idea of creation in Western thought, literature, religion, and history, this volume can fairly be called a magnum opus. He reflects on the different ways we have of talking about beginnings, on the “core-tiredness” that pervades our end-of-the-millennium spirit, and on the changing grammar of our discussions about the end of Western art and culture. With his well-known elegance of style and intellectual range, Steiner probes deeply into the driving forces of the human spirit and our perception of Western civilization’s lengthening afternoon shadows. Roaming across topics as diverse as the Hebrew Bible, the history of science and mathematics, the ontology of Heidegger, and the poetry of Paul Celan, Steiner examines how the twentieth century has placed in doubt the rationale and credibility of a future tense—the existence of hope. Acknowledging that technology and science may have replaced art and literature as the driving forces in our culture, Steiner warns that this has not happened without a significant loss. The forces of technology and science alone fail to illuminate inevitable human questions regarding value, faith, and meaning. And yet it is difficult to believe that the story out of Genesis has ended, Steiner observes, and he concludes this masterful volume of reflections with an eloquent evocation of the endlessness of beginnings.

"This book brings together Vilém Flusser and intellectual Jewish history of the second half of the twentieth century. Flusser is viewed today by many scholars as the most original theoretician of media and photography in the second half of the twentieth century, and yet this is the first monograph about him in English. Combining elements of Flusser's biography with a rigorous study of his writing, this book shows that concepts of 'virtuality', 'medium', and 'embodiment' underpin not only Flusser's understanding of technological media, such as photography, but also his understanding of evolution and of real or imaginary biological organisms. This book argues that Flusser contended with Nazism in his writings on these biological and ecological themes. Two threads - and their relationship - are explored: the first bears on Nazism as undergirded by a biological perspective - an attempt to eradicate a population taken to be parasitic; in the second, Nazism is simply viewed as 'stupid'. Such a line of inquiry necessarily leads to and includes our dealing with the 'Nazi fantasy', because fantasy was fused into Nazism's own vision. This book will not only be an ideal resource for students and scholars of intellectual Jewish history but will interest anyone seeking an introduction to Flusser and the philosophy of science within the context of Nazism"--

This revised edition of The Anatomy of Fate, with its additional pictures, captions and diagrams, sets out the philosophy of astrology. This tradition dates back to Ur of the Chaldees, the home of Abraham the father of Kabbalah, the Jewish mystical line. Applying celestial symbols and archetypal images, the metaphysical background to this ancient form of psychology, human development and cosmic reality fuses the medieval version into a modern comprehension of a profound esoteric system. It is one thing to interpret a birth chart but another to perceive what astrology is really about.

Astrology and Kabbalah is a rewrite of The Anatomy of Fate, first published in 1978. It is about astrology's place in the wider context of Existence as set out by the ancient esoteric tradition of Kabbalah. The topics to be examined are the origin of humanity and the influence of the cosmos on mankind, at both the individual and collective levels. The birth chart is looked at from a psychological and spiritual perspective, as is personal fate and transpersonal destiny. The character and karma of nations, Providence and free will are also considered; so too is an astrological school of the soul, from an esoteric viewpoint. This work is the result of over 50 years' reflection on astrology and Kabbalah. When The Anatomy of Fate was published by Penguin Books it was described as 'a learned and wise classic.' This new and now revised edition, with its added pictures and diagrams, gives yet deeper insights.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

An acclaimed sociologist's exploration of the connections among performances in life, art, and politics "A thought-provoking, essayistic and touchingly personal exploration of the ethics and aesthetics of performance from one of the leading intellectuals of our time."--Lucasta Miller, The Spectator , "Best Books of 2024" "Constantly fascinating and often illuminating."--Simon Callow, New York Review of Books In The Performer , Richard Sennett explores the relations between performing in art (particularly music), politics, and everyday experience. It focuses on the bodily and physical dimensions of performing, rather than on words. Sennett is particularly attuned to the ways in which the rituals of ordinary life are performances. The book draws on history and sociology, and more personally on the author's early career as a professional cellist, as well as on his later work as a city planner and social thinker. It traces the evolution of performing spaces in the city; the emergence of actors, musicians, and dancers as independent artists; the inequality between performer and spectator; the uneasy relations between artistic creation and social and religious ritual; the uses and abuses of acting by politicians. The Janus-faced art of performing is both destructive and civilizing.

Constructs a philosophy of history and historical interpretation and applies it to various past and present events

Publisher: Edition: first

Presence and Immortality brings Marce's philosophy to light as a search, “a finding one’s way,” an endeavor which achieves a profound unity despite the seemingly haphazard nature of its process. The diary excerpts—Metaphysical Journals—offer a broad overview of the central features of Marcel’s thought and serve as the backdrop for the title essay, which takes up a problem central to the human experience: the death of a loved one. The volume’s concluding element, the unfinished play entitled The Unfathomable, emphasizes the profound connection between drama and philosophy in the mind of Marcel. Through its series of introspective, impressionistic reflections on life and death, Presence and Immortality offers significant insight into the multiform themes and variations of Marcel’s philosophy.

Argues that the major difference between communism and Western democracy was the existence of intermediary institutions, such as trade unions, political parties, religions, and clubs