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From Irenaeus to Duns Scotus
In God, the Flesh, and the Other, the philosopher Emmanuel Falque joins the ongoing debate about the role of theology in phenomenology. An important voice in the second generation of French philosophy’s “theological turn,” Falque examines philosophically the fathers of the Church and the medieval theologians on the nature of theology and the objects comprising it. Falque works phenomenology itself into the corpus of theology. Theological concepts thus translate into philosophical terms that phenomenology should legitimately question: concepts from contemporary phenomenology such as onto-theology, appearance, reduction, body/flesh, inter-corporeity, the genesis of community, intersubjectivity, and the singularity of the other find penetrating analogues in patristic and medieval thought forged through millennia of Christological and Trinitarian debate, mystical discourses, and speculative reflection. Through Falque’s wide-ranging interpretive path, phenomenology finds itself interrogated—and renewed.
The Troubled Inheritance of Modern Literature
The Evolution of a Classic in Imperial and Soviet Russia
Gogol's claim to the title of national literary classic is incontestable. An exemplar of popular audiences no less than for the intelligentsia, Gogol was pressed into service under the tsarist and Soviet regimes for causes both aesthetic and political, official and unofficial. In Gogol's Afterlife, Stephen Moeller Sally explores how he achieved this peculiar brand of cultural authority and later maintained it, despite dramatic shifts in the organization of Russian literature and society.
Christina Pugh’s Grains of the Voice exhibits a pervasive fascination with sound in all its manifestations. The human voice, musical instruments, the sounds produced by the natural and man-made worlds—all serve at one time or another as both the framework of poems and the occasion for their lightning-quick changes of direction, of tone, of point of reference. The poems are eclectic in their allusiveness, filled with echoes—and sometimes the words themselves—of other poets, but just as often of songs both popular and obscure, of the noise of pop culture, and of philosophers’ writings. But Pugh always wears her learning lightly. Beneath the jewellike surfaces of her poems is a strenuous investigation of the nature of and need for communication and a celebration of the endless variety of its forms.
Recent years have witnessed a resurgence of scholarly interest in the work of Johann Georg Hamann (1730–1788), across disciplines. New translations of work by and about Hamann are appearing, as are a number of books and articles on Hamann’s aesthetics, theories of language and sexuality, and unique place in Enlightenment and counter-Enlightenment thought.
Edited by Lisa Marie Anderson, Hamann and the Tradition gathers established and emerging scholars to examine the full range of Hamann’s impact—be it on German Romanticism or on the very practice of theology. Of particular interest to those not familiar with Hamann will be a chapter devoted to examining—or in some cases, placing—Hamann in dialogue with other important thinkers, such as Socrates, David Hume, Friedrich Nietzsche, Martin Buber, Franz Rosenzweig, and Ludwig Wittgenstein.
A Staging Ground for Community, Class, and Contradiction, 1923-1939
Nikky Finney was born at the rim of the Atlantic Ocean, in South Carolina, in 1957. The daughter of activists and educators, she began writing in the midst of the Civil Rights and Black Arts Movements. With these instrumental eras circling her, Finney's work provides first-person literary accounts to some of the most important events in American history.
That aesthetics is central to Hegel's philosophical enterprise is not widely acknowledged, nor has his significant contribution to the discipline been truly appreciated. Some may be familiar with his theory of tragedy and his (supposed) doctrine of the "end of art," but many philosophers and writers on art pay little or no attention to his lectures on aesthetics. The essays in this collection, all but one written specifically for this volume, aim to raise the profile of Hegel's aesthetic theory by showing in detail precisely why that theory is so powerful. Writing from various perspectives and not necessarily aligned with Hegel's position, the contributors demonstrate that Hegel's lectures on aesthetics constitute one of the richest reservoirs of ideas about the arts, their history, and their future that we possess.