Cultural Memory in the Present

An autobiography in the form of a philosophical diary, Little Did I Know's underlying motive is to describe the events of a life that produced the kind of writing associated with Stanley Cavell's name. Cavell recounts his journey from early childhood in Atlanta, Georgia, through musical studies at UC Berkeley and Julliard, his subsequent veering off into philosophy at UCLA, his Ph.D. studies at Harvard, and his half century of teaching. Influential people from various fields figure prominently or in passing over the course of this memoir. J.L. Austin, Ernest Bloch, Roger Sessions, Thomas Kuhn, Robert Lowell, Rogers Albritton, Seymour Shifrin, John Rawls, Bernard Williams, W. V. O. Quine, and Jacques Derrida are no longer with us; but Cavell also pays homage to the living: Michael Fried, John Harbison, Rose Mary Harbison, Kurt Fischer, Milton Babbitt, Thompson Clarke, John Hollander, Hilary Putnam, Sandra Laugier, Belle Randall, and Terrence Malick. The drift of his narrative also registers the decisiveness of the relatively unknown and the purely accidental. Cavell's life has produced a trail of some eighteen published books that range from treatments of individual writers like Wittgenstein, Austin, Emerson, Thoreau, Heidegger, Shakespeare, and Beckett to studies in aesthetics, epistemology, moral and political philosophy, cinema, opera, and religion. -- Book jacket.

"This posthumous work by one of the leading philosophers of the twentieth century engages Augustine's Confessions, one of the major canonical works of world literature and the very paradigm of autobiography as a definable genre of writing.". "Lyotard approaches his subject by returning to his earliest phenomenological training, rearticulating Augustine's sensory universe from a vantage point imaginarily inside the confessant's world, a vantage point that reveals the intense point of conjuncture between the sensual and the spiritual, the erotic world and the mystical, being and appearance, sin and salvation. Lyotard reveals the very origins of phenomenology in Augustine's narrative, and in so doing also shows the origins of semiotics to lie there (in the explication of the Augustinian heavens as skin, as veil, as vellum).". "Lyotard's text centers on what he takes to be Augustine's central confession: the repeated avowal of an essential uncertainty concerning the status of the faith confessed, of being in a sense already too late, of a difficulty in being no longer of this world while being in it all the same. Far from offering the foundation of all subsequent journeys to selfhood, Lyotard sees the Confessions as many evocations of a certain loss of self, of a temporality that is not given or recuperated all at once - or once and for all but that time and again is lost or forgotten."--BOOK JACKET.

The essays in "Theological Tractates" were published between 1925 and 1937, during which time Erik Peterson converted from Protestantism to Roman Catholicism. They deal with a range of theological topics{u2014}from the thought of Protestant theologian Karl Barth, to liturgy, the Church in the New Testament, Christianity and Judaism, angels, martyrdom, and mysticism. Among them is Peterson's landmark essay on ancient "political theology," "Monotheism as a Political Problem," which shows how ancient writers{u2014}pagans, Jews, and Christians{u2014}justified earthly monarchy by its parallel with the monotheistic belief in one divinity in heaven. Peterson asserted that such a political theology was incompatible with Christianity, a thesis that became a reference point for modern political theology.

"In this, one of the last published books planned by one of the major cultural philosophers of our time, Lyotard addresses, in his powerful and allusive critical voice, Malraux's reflections on art and literature. The result, more than a sequel to Lyotard's acclaimed biography Signe Malraux, tells us as much about Lyotard and his critical concerns as it does about Malraux. It gives us Lyotard's final thoughts on his long study of the critical, disruptive possibilities of art and of the relation between aesthetics and politics. At first glance, Lyotard's sympathetic and generous analysis of Malraux might be surprising to some, for Malraux's metaphysics of art seems far removed from, if not diametrically opposed to, Lyotard's postmodern, experimental approach. But this is perhaps the book's greatest achievement, for Lyotard succeeds both in giving a compelling critical reading of Malraux (and through him of an entire era of art criticism) and in presenting, complicating, and developing his own position on art and aesthetics." "In order to present Lyotard's exquisitely compact style in the best possible way, the original French text appears on facing pages with the English translation."--BOOK JACKET.

Opening with the provocative query “what might an anthropology of the secular look like?” this book explores the concepts, practices, and political formations of secularism, with emphasis on the major historical shifts that have shaped secular sensibilities and attitudes in the modern West and the Middle East. Talal Asad proceeds to dismantle commonly held assumptions about the secular and the terrain it allegedly covers. He argues that while anthropologists have oriented themselves to the study of the “strangeness of the non-European world” and to what are seen as non-rational dimensions of social life (things like myth, taboo, and religion),the modern and the secular have not been adequately examined. The conclusion is that the secular cannot be viewed as a successor to religion, or be seen as on the side of the rational. It is a category with a multi-layered history, related to major premises of modernity, democracy, and the concept of human rights. This book will appeal to anthropologists, historians, religious studies scholars, as well as scholars working on modernity.

"In The Reality of the Mass Media, Luhmann extends his theory of social systems to an examination of the role of mass media in the constitution of social reality.". "Luhmann argues that the system of mass media is a set of recursive, self-referential programs of communication, whose functions are not determined by the external values of truthfulness, objectivity, or knowledge, nor by specific social interests or political directives. Rather, he contends that the system of mass media is regulated by the internal code information/noninformation, which enables the system to select its information (news) from its own environment and to communicate this information in accordance with its own reflexive criteria."--BOOK JACKET.

The Goodman brothers see a "community plan" not as a layout of streets and houses, but as the external form of the activity going on. "It is more like a choreography of society in motion and in rest, an arrangement for society to live out its habits and ideals and do its work, directing itself or being directed." They examine in turn the three main types of plans which have emerged in the last hundred years, grouping them into three classes: the green belt, industrial plans, and integrated plans. The Goodmans turn then to their own, and they arrive at three completely different community formulas, with communities for efficient consumption, the elimination of the difference between production and consumption, and planned security with minimum regulation. The authors enjoy themselves working out the architectural implications of their double economy--the "production center" and minimal settlements of the subsistence economy. By the nature of their approach, they are forced to stray out of the field of town-planning into that of economics, with mixed results. However, all their suggestions release a speculative faculty in the reader's brain, and that may be the best approach to forward the building their idealized communities.

"Something of a historical event, this book combines loosely "autobiographical" texts by two of the most influential French intellectuals of our time. "Savoir," by Helene Cixous, is a brief but densely layered account of her experience of recovered sight after a lifetime of severe myopia, an experience that ends with the unexpected turn of grieving for what is lost. Her literary inventiveness mines the coincidence in French between the two verbs savoir (to know) and voir (to see). Jacques Derrida's "A Silkworm of One's Own" complexly muses on a host of autobiographical, philosophical, and religious motifs including his varied responses to "Savoir." The two texts are accompanied by six beautiful and evocative drawings that play on the theme of drapery over portions of the body.". "Veils suspends sexual difference between two homonyms: la voile (sail) and le voile (veil). A whole history of sexual difference is enveloped, sometimes dissimulated here in the folds of sails and veils and in the turns, journeys, and returns of their metaphors and metonymies.". "However foreign to each other they may appear, however autonomous they may be, the two texts participate in a common genre: autobiography, confession, memoirs. The future also enters in: by opening to each other, the two discourses confide what is about to happen, the imminence of an event lacking any common measure with them or with anything else, an operation that restores sight and plunges into mourning the knowledge of the previous night, a "verdict" whose threatening secret remains out of reach by our knowledge."--BOOK JACKET.

Explores the place of the literary in theory. This account of the fortunes of the literary in theory, of the resistance to theory, and of key theoretical concepts - text, sign, interpretation, performative, and omniscience - provides insight into various theoretical debates.

Occidental Eschatology, originally Jacob Taubes's doctoral thesis and the one book he published in his lifetime, seeks to renegotiate the historical synthesis and spiritual legacy of the West through the study of apocalypticism. Covering the origins of apocalypticism from Hebrew prophecy through antiquity and early Christianity to its medieval revival in Joachim of Fiore, Taubes reveals its later secularized forms in Kant, Hegel, Marx, and Kierkegaard. His aim is to show the lasting influence of revolutionary, messianic teleology on Western philosophy, history, and politics. Combining painstaking scholarship with an unmatched scope of reference, Taubes takes a comprehensive approach to the twin focuses of political theology and philosophy of history. He argues that acceptance of the idea that time will one day come to an end has profound implications for political thought. If natural time is experienced as an eternal cycle of events, "history" is the realm of time in which human actions can make decisions to alter the progression of events. This philosophy asks that individuals take responsibility for their own actions and resist authority that claims to act on their behalf. Whereas universal history is written by the victors, the messianic or apocalyptic event enters history and gives a voice to the oppressed. --