MacKendrick (philosophy, Le Moyne College) explores language and silence and their temporality and atemporality through works of philosophy, literature, and religion, where eternity and silence have long been matters of concern. Among the authors she considers are Maurice Blanchot, Georges Bataille, four poets, St. Augustine, and Meister Eckhart. Annotation copyrighted by Book News Inc., Portland, OR
Drawing on philosophy, theology, and literature, from the early Middle Ages to the present, Immemorial Silence traces a series of intertwined ideas. Exploring silence as the absence of language, which is nonetheless inherent in language itself, and eternity as the outside of time, cutting through time itself, the book unfolds a series of connections between these temporal and linguistic themes.
Silence exists at the edge of the world, where words break off and meaning fades into ambiguity. The numerous treatments of silence in Steven L. Bindeman’s Silence in Philosophy, Literature, and Art question the misleading clarity of certainty, which persists in the unreflective discourse of common experience. Significant philosophical problems, such as the limits of language, the perception of sound and the construction of meaning, the dynamics of the social realm, and the nature of the human self, all appear differently as a consequence of this questioning. Silence is shown to have two modes, disruptive and healing, which work together as complementary stages within a creative process. The interaction between these two modes of silence serves as the dynamic behind the entire work.
This novel by the author of Sons and Lovers follows three generations of a family in rapidly changing England. One of the Modern Library’s 100 best English-language novels of the twentieth century In a story ranging from the mid-nineteenth century to the early twentieth, The Rainbow explores the passions and relationships experienced by each generation of the Brangwen family as the world around them grows more urban and industrialized. Tom Brangwen is a farmer who does not venture beyond the east Midlands and makes his home with a Polish widow named Lydia. Lydia’s daughter, Anna, suffers through a troubled marriage. And her daughter, Ursula—whose story continues in Lawrence’s sequel, Women in Love—receives an advanced education and finds herself in a society far more sophisticated and fast-paced than that of her forebears. Ursula yearns for something more and seeks to sate a deep hunger in both her body and soul. A daring, sensual novel by the author of Lady Chatterley’s Lover and other modern classics, The Rainbow was banned in England for years, and is now considered one of the greatest works of twentieth-century literature.
When D.H. Lawrence wrote The Rainbow and Women in Love he had intended for it to be a single novel. One of the names he was considering was The Wedding Ring. The publisher, however, chose to break the work into two novels. Here are the two novels once again in single form. This novel follows generations of the Brangwen family, focusing on the sexual dynamics of, and relations between, the characters. Lawrence's frank treatment of sexual desire and the power plays within relationships as a natural and even spiritual force of life caused The Rainbow to be prosecuted in an obscenity trial in late 1915, as a result of which all copies were seized and burnt. After this ban it was unavailable in Britain for 11 years.
Assesses Merleau-Pontys contribution to ethics as calling for a poetic interplay between perception and imagination, and between silence and solidarity, that reveals our place in the world, and our obligations to ourselves and others. Before his death in 1961, Merleau-Ponty worried about what he saw as humanitys increasingly self-enclosed and manipulative way of experiencing self, others, and the worldthe consequences of which remain apparent in our destructive inability to connect with others within and across cultures. In Merleau-Ponty and the Face of the World, Glen A. Mazis provides an overall consideration of Merleau-Pontys philosophy that brings out what he sees as a corrective prescription for ethical reorientation that is fundamental to Merleau-Pontys thought. Mazis begins by analyzing the key role that silence plays for Merleau-Ponty as a positive, powerful presence rather than a lack or emptiness, and then builds on this to explore the ethical significance of the face-to-face encounter in his thought as one of solidarity rather than obligation. In the last part of the book, Mazis traces the development of what he calls physiognomic imagination in Merleau-Pontys work. This understanding of imagination is not fancy or make-believe, but rather brings out the depths of perceptual meaning and leads to an appreciation of poetic language as the key to revitalizing both ethics and ontology. Drawing on Merleau-Pontys published works, lecture notes, unpublished writings, and the work of many phenomenologists and Merleau-Ponty scholars, Mazis also offers incisive readings of Merleau-Pontys work as it relates to that of Antoine de Saint-Exupéry, Gaston Bachelard, and Emmanuel Levinas.
The Rainbow is a novel by British author D. H. Lawrence. It follows three generations of the Brangwen family living in Nottinghamshire, particularly focusing on the individual's struggle to growth and fulfilment within the confining strictures of English social life. The Rainbow tells the story of three generations of the Brangwen family, a farm/ labouring dynasty who live in the East Midlands of England near Nottingham. The book spans a period of roughly 65 years from the 1840s to 1905, and shows how the love relationships of the Brangwens change against the backdrop of the increasing industrialisation of Britain. The first central character, Tom Brangwen, is a farmer whose experience of the world does not stretch beyond Nottinghamshire; while the last, Ursula, his granddaughter, studies at University and becomes a teacher in the progressively urbanised, capitalist and industrial world that would become our modern experience. The book starts with a description of the Brangwen dynasty, then deals with how Tom Brangwen, one of several brothers, fell in love with a Polish refugee, Lydia. The next part of the book deals with Lydia's daughter by her first husband, Anna, and her destructive, battle-riven relationship with her husband, Will, the son of one of Tom's brothers. The last and most extended part of the book, and also probably the most famous, then deals with Will and Anna's daughter, Ursula, and her struggle to find fulfilment for her passionate, spiritual and sensual nature against the confines of the increasingly materialist and conformist society around her. She experiences a lesbian relationship with a teacher, and a passionate but ultimately doomed love affair with Anton Skrebensky, a British soldier of Polish ancestry. At the end of the book, having failed to find her fulfilment in Skrebensky, she has a vision of a rainbow towering over the Earth, promising a new dawn for humanity: "She saw in the rainbow the earth's new architecture, the old, brittle corruption of houses and factories swept away, the world built up in a living fabric of Truth, fitting to the over-arching heaven."
The central characters in this 1915 D.H. Lawrence novel are the Brangwen family and in particular, Ursula, the granddaughter of Lydia Lensky. This is a story of 3 generations of one family; their loves and lives and passions.
