In this academic guide to postmodern philosophy, the author explains how and why progressive scholars engage in a cultural war against traditional American values. His research analyses how the advance of a reciprocally pantheistic and atheistic paradigm promotes an amoral agenda, advocated by America's generation of postmodern politicians.
Beyond Postmodernism identifies ways in which psychoanalysis has moved beyond the postmodern debate and discusses how this can be applied to contemporary practice. Roger Frie and Donna Orange bring together many of the leading authorities on psychoanalytic theory and practice to provide a broad scope of psychoanalytic viewpoints and perspectives on the growing interdisciplinary discourse between psychoanalysis, continental philosophy, social theory and philosophy of mind. Divided into two parts, Psychoanalytic Encounters with Postmodernism and Psychoanalysis Beyond Postmodernism, this book: elaborates and clarifies aspects of the postmodern turn in psychoanalysis furthers an interdisciplinary perspective on clinical theory and practice contributes to new understandings of theory and practice beyond postmodernism. Beyond Postmodernism: New Dimensions in Clinical Theory and Practice provides a fresh perspective on the relationship between psychoanalysis and postmodernism and raises new issues for the future. It will be of interest to practicing psychoanalysts and psychologists as well as students interested in psychoanalysis, postmodernism and philosophy.
A magical debut about an enchanted house that offers refuge to women in their time of need Distraught that her academic career has stalled, Alba is walking through her hometown of Cambridge, England, when she finds herself in front of a house she’s never seen before, 11 Hope Street. A beautiful older woman named Peggy greets her and invites her to stay, on the house’s usual conditions: she has ninety-nine nights to turn her life around. With nothing left to lose, Alba takes a chance and moves in. She soon discovers that this is no ordinary house. Past residents have included Virginia Woolf and Dorothy Parker, who, after receiving the assistance they needed, hung around to help newcomers—literally, in talking portraits on the wall. As she escapes into this new world, Alba begins a journey that will heal her wounds—and maybe even save her life. Filled with a colorful and unforgettable cast of literary figures, The House at the End of Hope Street is a charming, whimsical novel of hope and feminine wisdom that is sure to appeal to fans of Jasper Fforde and especially Sarah Addison Allen.
What does it mean to be truthful? What role does truth play in our lives? What do we lose if we reject truthfulness? No philosopher is better suited to answer these questions than Bernard Williams. Writing with his characteristic combination of passion and elegant simplicity, he explores the value of truth and finds it to be both less and more than we might imagine. Modern culture exhibits two attitudes toward truth: suspicion of being deceived (no one wants to be fooled) and skepticism that objective truth exists at all (no one wants to be naive). This tension between a demand for truthfulness and the doubt that there is any truth to be found is not an abstract paradox. It has political consequences and signals a danger that our intellectual activities, particularly in the humanities, may tear themselves to pieces. Williams's approach, in the tradition of Nietzsche's genealogy, blends philosophy, history, and a fictional account of how the human concern with truth might have arisen. Without denying that we should worry about the contingency of much that we take for granted, he defends truth as an intellectual objective and a cultural value. He identifies two basic virtues of truth, Accuracy and Sincerity, the first of which aims at finding out the truth and the second at telling it. He describes different psychological and social forms that these virtues have taken and asks what ideas can make best sense of them today. Truth and Truthfulness presents a powerful challenge to the fashionable belief that truth has no value, but equally to the traditional faith that its value guarantees itself. Bernard Williams shows us that when we lose a sense of the value of truth, we lose a lot both politically and personally, and may well lose everything.
A leading cultural theorist and musicologist opens up new possibilities for understanding mainstream Western art music—the "classical" music composed between the eighteenth and early twentieth centuries that is, for many, losing both its prestige and its appeal. When this music is regarded esoterically, removed from real-world interests, it increasingly sounds more evasive than transcendent. Now Lawrence Kramer shows how classical music can take on new meaning and new life when approached from postmodernist standpoints. Kramer draws out the musical implications of contemporary efforts to understand reason, language, and subjectivity in relation to concrete human activities rather than to universal principles. Extending the rethinking of musical expression begun in his earlier Music as Cultural Practice, he regards music not only as an object that invites aesthetic reception but also as an activity that vitally shapes the personal, social, and cultural identities of its listeners. In language accessible to nonspecialists but informative to specialists, Kramer provides an original account of the postmodernist ethos, explains its relationship to music, and explores that relationship in a series of case studies ranging from Haydn and Mendelssohn to Ives and Ravel. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996. A leading cultural theorist and musicologist opens up new possibilities for understanding mainstream Western art music—the "classical" music composed between the eighteenth and early twentieth centuries that is, for many, losing both its prestige and its
