The Face of Immortality


Book Description

The literature on physiognomy—the art of studying a person's outward appearance, especially the face, in order to determine character and intelligence—has flourished in recent years in the wake of renewed scholarly interest in the history and politics of the body. Virtually no attention, however, has been devoted to the vocabulary and rhetoric of physiognomy. The Face of Immortality addresses this gap, arguing that the trend in Western culture has been to obliterate the face, which is manifested in criticism as a disregard for the letter. Denouncing this trend, Davide Stimilli draws on Hebrew, Greek, Latin, Italian, English, and German sources in order to explore the terminology and historical development of physiognomy. Stimilli takes physiognomy to be the resistance to such an obliteration of the face, and argues that it offers a model for a theory of reading that does not discount the letter as inessential. Elaborating on the work of Walter Benjamin, he defines the task of physiognomical criticism as transliteration (which preserves the letter) rather than translation (which obliterates it). The Face of Immortality is meant to exemplify the method and test the reach of such a criticism, which aims at mediating between philology and philosophy, between literal and allegorical modes of interpretation.




Classical and Christian Ideas of World Harmony


Book Description

This uniquely fascinating volume is not merely a learned treatise in historical semantics; it is itself a stupendous display of world harmony as a creed-a vivid demonstration that "all is all."




Fichte, German Idealism, and Early Romanticism


Book Description

This volume of 23 previously unpublished essays explores the relationship between the philosophy of J.G. Fichte and that of other leading thinkers associated with German Idealism and the early Romantic movement. Several papers explore the broader question of Fichte's relationship and contribution to “German idealism” and “German romanticism” in general, while others offer comparative studies of the relationship between Fichte's writings and those of Leibniz, Kant, Schelling, Hegel, Friedrich Schlegel, Novalis, Schleiermacher, and Wilhelm von Humboldt. Taken collectively, this set of essays provides anglophone readers with a new and historically accurate understanding of the origin, development, and reception of Fichte's philosophy in the context of its own era and in relationship to the most important intellectual movements of the time. The authors include both well established and internationally recognized experts in their fields as well as younger scholars with fresh and challenging perspectives to offer. This volume proposes a new interpretation of the history of German idealism in general and of the place therein of Fichte'sWissenschaftslehre. It emphasizes the intimate connection between “transcendental idealism” and “German romanticism” and shows how developments within each of these intellectual movements reflected and in turn influenced developments within the other. Finally, it sheds new light on Fichte's own philosophical development and does so by relating the various stages of his writings to other contemporary movements and authors.




Twentieth-Century Humanist Critics


Book Description

The Twentieth-Century Humanist Critics revisits the work and place of eight scholars roughly contemporary with Anglo-American New Criticism: Leo Spitzer, Ernst Robert Curtius, Erich Auerbach, Albert Béguin, Jean Rousset, C.S. Lewis, F.O. Matthiessen, and Northrop Frye. William Calin first considers the achievements of each critic, examining his methodology and basic presuppositions as well as the critiques marshalled against him. Calin explores their relation to history, to canon-formation, and to our current theoretical debates. He then goes on to show how all eight form a current in the history of criticism related to both humanism and modernism. Underscoring the international, cosmopolitian aspects of literary scholarship in the twentieth century, The Twentieth-Century Humanist Critics brings together humanist critical traditions from Europe, the United Kingdom, and North America and reveals the surprising extent to which, in various languages and academic systems, critics were posing similar questions and offering a gamut of similar responses.




Attunement


Book Description

How architecture can move beyond the contemporary enthusiasms for the technically sustainable and the formally dazzling to enhance our human values and capacities. Architecture remains in crisis, its social relevance lost between the two poles of formal innovation and technical sustainability. In Attunement, Alberto Pérez-Gómez calls for an architecture that can enhance our human values and capacities, an architecture that is connected—attuned—to its location and its inhabitants. Architecture, Pérez-Gómez explains, operates as a communicative setting for societies; its beauty and its meaning lie in its connection to human health and self-understanding. Our physical places are of utmost importance for our well-being. Drawing on recent work in embodied cognition, Pérez-Gómez argues that the environment, including the built environment, matters not only as a material ecology but because it is nothing less than a constituent part of our consciousness. To be fully self-aware, we need an external environment replete with meanings and emotions. Pérez-Gómez views architecture through the lens of mood and atmosphere, linking these ideas to the key German concept of Stimmung—attunement—and its roots in Pythagorean harmony and Vitruvian temperance or proportion. He considers the primacy of place over space; the linguistic aspect of architecture—the voices of architecture and the voice of the architect; architecture as a multisensory (not pictorial) experience, with Piranesi, Ledoux, and Hejduk as examples of metaphorical modeling; and how Stimmung might be put to work today to realize the contemporary possibilities of attunement.




Theology, Music, and Modernity


Book Description

Theology, Music, and Modernity addresses the question: how can the study of music contribute to a theological reading of modernity? It has grown out of the conviction that music has often been ignored in narrations of modernity's theological struggles. Featuring contributions from an international team of distinguished theologians, musicologists, and music theorists, the volume shows how music--and discourse about music--has remarkable powers to bring to light the theological currents that have shaped modern culture. It focuses on the concept of freedom, concentrating on the years 1740-1850, a period when freedom--especially religious and political freedom-became a burning matter of concern in virtually every stratum of Western society. The collection is divided into four sections, each section focusing on a key phenomenon of this period--the rise of the concept of 'revolutionary' freedom; the move of music from church to concert hall; the cry for eschatological justice in the work of black hymn-writer and church leader Richard Allen; and the often fierce tensions between music and language. There is a particular concern to draw on a distinctively 'Scriptural imagination' (especially the theme of New Creation) in order to elicit the key issues at stake, and to suggest constructive ways forward for a contemporary Christian theological engagement with the legacies of modernity today.




Number to Sound


Book Description

Number 10 Sound: The Musical Way 10 the Scientific Revolution is a collection of twelve essays by writers from the fields of musicology and the history of science. The essays show the idea of music held by Euro th pean intellectuals who lived from the second half of the 15 century to the th early 17 : physicians (e. g. Marsilio Ficino), scholars of musical theory (e. g. Gioseffo Zarlino, Vincenzo Galilei), natural philosophers (e. g. Fran cis Bacon, Isaac Beeckman, Marin Mersenne), astronomers and mathema ticians (e. g. Johannes Kepler, Galileo Galilei ). Together with other people of the time, whom the Reader will meet in the course of the book, these intellectuals share an idea of music that is far removed from the way it is commonly conceived nowadays: it is the idea of music as a science whose object-musical sound--can be quantified and demonstrated, or enquired into experimentally with the methods and instruments of modem scientific enquiry. In this conception, music to be heard is a complex, variable structure based on few simple elements--e. g. musical intervals-, com bined according to rules and criteria which vary along with the different ages. However, the varieties of music created by men would not exist if they were not based on certain musical models--e. g. the consonances-, which exist in the mind of God or are hidden in the womb of Nature, which man discovers and demonstrates, and finally translates into the lan guage of sounds.




Medieval Secular Literature


Book Description

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 1965.




Dante's Journey to Polyphony


Book Description

In Dante's Journey to Polyphony, Francesco Ciabattoni's erudite analysis sheds light on Dante's use of music in the Divine Comedy. Following the work's musical evolution, Ciabattoni moves from the cacophony of Inferno through the monophony of Purgatory, to the polyphony of Paradise and argues that Dante's use of sacred songs constitutes a thoroughly planned system. Particular types of music accompany the pilgrim's itinerary and reflect medieval theories regarding sound and the sacred. Combining musicological and philological scholarship, this book analyzes Dante's use of music in conjunction with the form and content of his verse, resulting in a cross-discipline analysis also touching on Italian Studies, Medieval Studies, and Cultural History. After moving from infernal din to heavenly harmony, Ciabattoni's final section addresses the music of the spheres, a theory that enjoyed great diffusion among the early middle ages, inspiring poets and philosophers for centuries.




The Kuyper Center Review


Book Description

Some religious traditions -- such as Lutheran, Wesleyan, and Eastern Orthodox -- have aesthetically rich resources on which to draw for the renewal of arts in everyday life. In contrast, Calvinism has generally been suspicious of the arts. The essays in this volume attempt to explore new avenues of thought about Calvinism's relation to the arts. Part historical, part theological, and part practical, they offer a wide-ranging exploration of neo-Calvinism's relationship to the arts, both at a general level and in connection with specific art forms. Overall they suggest that the neo-Calvinism espoused by Abraham Kuyper can and should make more of the arts than the traditional view of Reformed Christianity might be thought to allow. Contributors: Clifford B. Anderson John Barber James D. Bratt Michael Brutigam Janet Danielson Neal DeRoo John De Soto James Eglinton Matthew Kaemingk Jennifer Wang William Baltmanis Whitney Albert M. Wolters