This is the fi rst work devoted to an expositi on on Daoist metaphysics and presenti ng Dao as a feminine principle. The work should be of interest to scholars and general readers in many disciplines: Comparati ve philosophy, religious studies, metaphysics, Asian studies, Chinese studies... etc.
Why do we keep playing the lottery when we know we’ll lose? How does what we laugh at—those bad jokes, wry allusions, and nasty pratfalls—tell us who we are? And what happens when, through some unforeseen mishap, we lose our identities and become Jane or John Doe? Eric LeMay explores these and other questions in fifteen innovative essays that center on the American self. From reflections on small-town life and baby-making to meditations on found art, 19th century landscape gardens, webcams, and the emergence of the AIDS pandemic, these essays celebrate the layered selves we inhabit, inherent, and sometime invent. With humor and with reverence, In Praise of Nothing beholds what Wallace Stevens has called the “nothing that is not there and the nothing that is.”
In this timely and essential book that offers a fresh take on the qualms of modern day life, Professor Alan Lightman investigates the creativity born from allowing our minds to freely roam, without attempting to accomplish anything and without any assigned tasks. We are all worried about wasting time. Especially in the West, we have created a frenzied lifestyle in which the twenty-four hours of each day are carved up, dissected, and reduced down to ten minute units of efficiency. We take our iPhones and laptops with us on vacation. We check email at restaurants or our brokerage accounts while walking in the park. When the school day ends, our children are overloaded with “extras.” Our university curricula are so crammed our young people don’t have time to reflect on the material they are supposed to be learning. Yet in the face of our time-driven existence, a great deal of evidence suggests there is great value in “wasting time,” of letting the mind lie fallow for some periods, of letting minutes and even hours go by without scheduled activities or intended tasks. Gustav Mahler routinely took three or four-hour walks after lunch, stopping to jot down ideas in his notebook. Carl Jung did his most creative thinking and writing when he visited his country house. In his 1949 autobiography, Albert Einstein described how his thinking involved letting his mind roam over many possibilities and making connections between concepts that were previously unconnected. With In Praise of Wasting Time, Professor Alan Lightman documents the rush and heave of the modern world, suggests the technological and cultural origins of our time-driven lives, and examines the many values of “wasting time”—for replenishing the mind, for creative thought, and for finding and solidifying the inner self. Break free from the idea that we must not waste a single second, and discover how sometimes the best thing to do is to do nothing at all.
Intolerance and bigotry lie at the heart of all human suffering. So claims Bertrand Russell at the outset of "In Praise of Idleness," a collection of essays in which he espouses the virtues of cool reflection and free enquiry; a voice of calm in a world of maddening unreason. With characteristic clarity and humour, Russell surveys the social and political consequences of his beliefs. From a devastating critique of the ancestry of fascism to a vehement defense of 'useless' knowledge, with consideration given to everything from insect pests to the human soul, " In Praise of Idleness " is a tour de force that only Bertrand Russell could perform.
"A cool, comic survey of the sexual education of a young Hungarian, from his first encounter, as a twelve-year-old refugee with the American forces, to his unsatisfactory liaison with a reporter's wife in Canada at the belated end of his youth, when he was twenty-three . . . elegantly erotic, with masses of that indefinable quality, style . . . this has the real stuff of immortality."—B. A. Young, Punch "A pleasure. Vizinczey writes of women beautifully, with sympathy, tact and delight, and he writes about sex with more lucidity and grace than most writers ever acquire."—Larry McMurtry, Houston Post "Like James Joyce, who was as far from being a writer of erotica as Dostoevsky, Vizinczey has a refreshing message to deliver: Life is not about sex, sex is about life."—John Podhoretz, Washington Times "The gracefully written story of a young man growing up among older women . . . although some passages may well arouse the reader, this novel brims with what the courts have termed "redeeming literary merit."—Clarence Petersen, Chicago Tribune "A funny novel about sex, or rather (which is rarer) a novel which is funny as well as touching about sex . . . elegant, exact and melodious—has style, presence and individuality."—Isabel Quigly, Sunday Telegraph "The delicious adventures of a young Casanova who appreciates maturity while acquiring it himself. In turn naive, sophisticated, arrogant, disarming, the narrator woos his women and his tale wins the reader."—Polly Devlin, Vogue
Shells, leafwork, picture frames, hummingbirds, wallpaper decorations, hems of clothing—such are the examples Kant's Critique of Judgment offers for a "free" and purely aesthetic beauty. Menninghaus's book demonstrates that all these examples refer to a widely unknown debate on the arabesque and that Kant, in displacing it, addresses genuinely "modern" phenomena. The early Romantic poetics and literature of the arabesque follow and radicalize Kant's move. Menninghaus shows parergonality and "nonsense" to be two key features in the spread of the arabesque from architecture and the fine arts to philosophy and finally to literature. On the one hand, comparative readings of the parergon in Enlightenment aesthetics, Kant, and Schlegel reveal the importance of this term for establishing the very notion of a self-reflective work of art. On the other hand, drawing on Kant's posthumous anthropological notebooks, Menninghaus extrapolates an entire Kantian theory of what it means to produce nonsense and why the Critique of Judgment defines genius precisely through the power (as well as the dangers) of doing so. Ludwig Tieck's 1797 rewriting of Charles Perrault's famous Bluebeard tale (1697) explicitly claims to be an "arabesque" book "without any sense and coherence." Menninghaus's close reading of this capricious narrative reveals a specifically Romantic—as opposed, say, to a Victorian or dadaistic—type of nonsense. Benjamin's as well as Propp's, Lévi-Strauss's, and Meletinskij's oppositions of myth and fairy tale lend additional credit to a Romantic poetics that inaugurates "universal poetry" while performing a bizarre trajectory through arabesque ornament, nonsense, parergonality, and the fairy tale.
What is truth in the postmodern age? The artistic generation of the twentieth century has grown up immersed in the delirious imagination of postmodern thought, which insists upon the ultimate uncertainty of meaning and that there is no self-evident truth. In Praise of Nonsense explores the possibilities and parameters of a postmodern imagination freed from the philosophical responsibilities of fiction, fact, and replication of lived experience. Mobilizing an array of scholars and contemporary artists, this study examines postmodern thinking through the lenses of identity and visual culture. Speculative, critical, and always creative in its approach, In Praise of Nonsense focuses on theories of disappearance, irony, and nonsense, where the pleasures of the imaginary give rise to artistic inspiration. When truth is unhinged, so is falsity, and all artistic thinking is called into question. Ted Hiebert takes on the ambitious project of holding postmodernism accountable for its own conclusions while also considering how those conclusions might still be given philosophical and artistic form.