"The book is a collection of essays and contributions from prominent Canadians on the 150th anniversary of Confederation, and the 35th anniversary of the Charter of Rights and Freedoms. Contributors include former prime ministers, politicians, judges, lawyers and wrongfully convicted. The perspectives are broad, thoughtful and inspiring."--
Writing at the time of political and social crisis in Athens, Aristophanes was an eloquent yet bawdy challenger to the demagogue and the sophist. The Achanians is a plea for peace set against the background of the long war with Sparta.
This volume presents, for the first time in English, Husserl’s seminal 1923/24 lecture course First Philosophy (Erste Philosophie) together with a selection of material from the famous research manuscripts of the same time period. The lecture course is divided into two systematic, yet interrelated parts (“Critical History of Ideas” and “Theory of the Phenomenological Reduction”). It has long been recognized by scholars as among the most important of the many lecture courses he taught in his career. Indeed it was deemed as crucially important by Husserl himself, who composed it with a view toward eventual publication. It is unsurprising, then, that First Philosophy is the only lecture course that is consistently counted among his major works. In addition to furnishing valuable insights into Husserl’s understanding of the history of philosophy, First Philosophy is his most sustained treatment of the phenomenological reduction, the central concept of his philosophical methodology. The selection of supplemental texts expands on the topics treated in the lectures, but also add other themes from Husserl’s vast oeuvre. The manuscript material is especially worthwhile, because in it, Husserl offers candid self-criticisms of his publicly enunciated words, and also makes forays into areas of his philosophy that he was loath to publicize, lest his words be misunderstood. As Husserl’s position as a key contributor to contemporary thought has, with the passage of time, become increasingly clear, the demand for access to his writings in English has steadily grown. This translation strives to meet this demand by providing English-speaking readers access to this central Husserlian text. It will be of interest to scholars of Husserl’s work, non-specialists, and students of phenomenology.
The eminent philosopher delivers an illuminating interpretation of Kant’s magnum opus in what is itself a significant work of Western philosophy. The text of Martin Heidegger’s 1927–28 university lecture course on Emmanuel Kant’s Critique of Pure Reason presents a close interpretive reading of the first two parts of this masterpiece of modern philosophy. In this course, Heidegger continues the task he enunciated in Being and Time as the problem of dismantling the history of ontology, using temporality as a clue. Heidegger demonstrates that the relation between philosophy, ontology, and fundamental ontology is rooted in the genesis of the modern mathematical sciences. He also shows that objectification of beings as beings is inseparable from knowledge a priori, the central problem of Kant’s Critique. He concludes that objectification rests on the productive power of imagination, a process that involves temporality, which is the basic constitution of humans as beings.
Since the 'turn to the subject' in modernity, aesthetic experiences have become crucial in the creation of meaning. This explains why art and religion are becoming increasingly intermingled in late modern Western culture. The search for meaning is no longer confined to traditional religious settings and it is especially in art that people are looking for moral and spiritual significance. Religion is being aestheticised while art is being spiritualised. This volume contains studies on the interface between art and religion. Scholars from art studies, theology, philosophy and psychology of religion address the following questions: What psychological and religious functions does art fulfil? What are the similarities and differences between aesthetic and religious experiences? How does the aestheticising of religion affect theological thinking? How does the spiritualising of art affect artistic practices and theory? Case studies are taken from literature, visual art, film and opera, both from 'high' and popular culture. Among others, there are chapters on J.M. Coetzee's novel Waiting for the Barbarians, Richard Wagner's operas, the Harry Potter books and the concept of beauty from a theological perspective. The contributors all highlight the crucial role of human imaginative capabilities and the capacity of art to open up wider horizons of meaning.
"On the God of Socrates" is a work on the existence and nature of demons, the intermediaries between gods and humans. This treatise was roughly attacked by Augustine of Hippo. It contains a passage comparing gods and kings which is the first recorded occurrence of the proverb "familiarity breeds contempt".Apuleius (/ˌ�pjᵿˈliːəs/; also called Lucius Apuleius Madaurensis and in Berber: Afulay c. 124 - c. 170 AD) was a Latin-language prose writer, platonist philosopher and rhetorian. He was a Numidian who lived under the Roman Empire and was from Madauros (now M'Daourouch, Algeria). He studied Platonism in Athens, travelled to Italy, Asia Minor, and Egypt and was an initiate in several cults or mysteries. The most famous incident in his life was when he was accused of using magic to gain the attentions (and fortune) of a wealthy widow. He declaimed and then distributed a witty tour de force in his own defense before the proconsul and a court of magistrates convened in Sabratha, near ancient Tripoli, Libya. This is known as the Apologia.His most famous work is his bawdy picaresque novel, the Metamorphoses, otherwise known as The Golden Ass. It is the only Latin novel that has survived in its entirety. It relates the ludicrous adventures of one Lucius, who experiments with magic and is accidentally turned into a donkey.
Greek legends and historical accounts contain many references to special statues or images designed to preserve the safety or livelihood of a city, a business or a house. These images, which fall into two often overlapping categories (talismans and apotropaia), were erected according to special rituals and took on a variety of intriguing forms, including lions, locusts, and bound effigies of destructive deities like Ares. Looking closely at a wide variety of Greek texts and artifacts, Faraone provides a detailed description and survey of these images and then uses this information to provide new interpretations of early Greek myths about Pandora, the Trojan Horse, and the "living statues" created by Hephaestus. At each step he sets the Greek evidence in a wider eastern-Mediterranean context, with detailed discussions of Near Eastern and Egyptian practices that bear close resemblance to the Greek rituals. The study closes with a re-evaluation of the traditional scholarly approach to religious art as purely representational, suggesting that some images instead of simply illustrating the power of a god, were actually created to restrain and control the power of inimical supernatural forces such as plague-gods and ghosts. Focusing renewed attention on these often misinterpreted talismans and apotropaia, Talismans and Trojan Horses will be illuminating for scholars and students of classics, art and archaeology, religion, the Ancient Near East, the Bible, and mythology.