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It is a commonplace that the modern world cannot be experienced as enchanted--that the very concept of enchantment belongs to past ages of superstition. Jane Bennett challenges that view. She seeks to rehabilitate enchantment, showing not only how it is still possible to experience genuine wonder, but how such experience is crucial to motivating ethical behavior. A creative blend of political theory, philosophy, and literary studies, this book is a powerful and innovative contribution to an emerging interdisciplinary conversation about the deep connections between ethics, aesthetics, and politics. As Bennett describes it, enchantment is a sense of openness to the unusual, the captivating, and the disturbing in everyday life. She guides us through a wide and often surprising range of sources of enchantment, showing that we can still find enchantment in nature, for example, but also in such unexpected places as modern technology, advertising, and even bureaucracy. She then explains how everyday moments of enchantment can be cultivated to build an ethics of generosity, stimulating the emotional energy and honing the perceptual refinement necessary to follow moral codes. Throughout, Bennett draws on thinkers and writers as diverse as Kant, Schiller, Thoreau, Kafka, Marx, Weber, Adorno, and Deleuze. With its range and daring, The Enchantment of Modern Life is a provocative challenge to the centuries-old ''narrative of disenchantment,'' one that presents a new ''alter-tale'' that discloses our profound attachment to the human and nonhuman world.
Argues that any adequate neo-Aristotelian virtue ethic must account for our distinctive nature as the meaning-seeking animal.
This is the long-awaited publication of a set of writings by the British philosopher, historian, and archaeologist R.G. Collingwood on critical, anthropological, and cultural themes only hinted at in his previously available work. At the centre of the book are six chapters of a study of folktale and magic, composed by Collingwood in the mid-1930s and intended for development into a book. Here Collingwood applies the principles of his philosophy of history to problems in thelong-term evolution of human society and culture. This is preceded, in Part I, by a range of contextualizing material on such topics as the relations between music and poetry, the nature of language, the value of Jane Austen's novels, the philosophy of art, and the relations between aesthetic theory andartistic practice. Part III of the volume consists of two essays, one on the relationship between art and mechanized civilization, and the second, written in 1931, on the collapse of human values and civilization leading up to the catastrophe of armed conflict. These offer a devastating analysis of the consequences that attend the desertion of liberal principles, indeed of all politics as such, in the ultimate self-annihilation of military conquest.The volume opens with three substantial introductory essays by the editors, authorities in the fields of critical and literary history, social and cultural anthropology, and the philosophy of history and the history of ideas; they provide their explanatory and contextual notes to guide the reader through the texts. The Philosophy of Enchantment brings hitherto unrecognized areas of Collingwood's achievement to light, and demonstrates the broad range of Collingwood's intellectualengagements, their integration, and their relevance to current areas of debate in the fields of philosophy, cultural studies, social and literary history, and anthropology.
Both film and fairy-tale studies scholars will enjoy Duggan's fresh look at the distinctive cinema of Jacques Demy.
“An extraordinary work of intellectual history as well as a scholarly tour de force, a bracing polemic, and a work of Christian prophecy...McCarraher challenges more than 200 years of post-Enlightenment assumptions about the way we live and work.” —The Observer At least since Max Weber, capitalism has been understood as part of the “disenchantment” of the world, stripping material objects and social relations of their mystery and magic. In this magisterial work, Eugene McCarraher challenges this conventional view. Capitalism, he argues, is full of sacrament, whether one is prepared to acknowledge it or not. First flowering in the fields and factories of England and brought to America by Puritans and evangelicals, whose doctrine made ample room for industry and profit, capitalism has become so thoroughly enmeshed in the fabric of our society that our faith in “the market” has become sacrosanct. Informed by cultural history and theology as well as management theory, The Enchantments of Mammon looks to nineteenth-century Romantics, whose vision of labor combined reason, creativity, and mutual aid, for salvation. In this impassioned challenge to some of our most firmly held assumptions, McCarraher argues that capitalism has hijacked our intrinsic longing for divinity—and urges us to break its hold on our souls. “A majestic achievement...It is a work of great moral and spiritual intelligence, and one that invites contemplation about things we can’t afford not to care about deeply.” —Commonweal “More brilliant, more capacious, and more entertaining, page by page, than his most ardent fans dared hope. The magnitude of his accomplishment—an account of American capitalism as a religion...will stun even skeptical readers.” —Christian Century
The concept of mimesis has dominated reflection on the nature and role, in Greek literature, of representation. Jonas Grethlein, in his ambitious new book, takes this reflection a step further. He argues that, beyond mimesis, there was an important but unacknowledged strand of reflection focused instead on the nuanced idea of apatē (often translated into English as 'deceit'), oscillating between notions of 'deception' and 'aesthetic illusion'. Many authors from Gorgias and Plato to Philo, Plutarch and Clement of Alexandria used this key concept to entwine aesthetics with ethics. In creatively exploring the various reconfigurations of apatē, and placing these in their socio-historical contexts, the book offers a bold new history of ancient aesthetics. It also explores the present significance of the aesthetics of deception, unlocking the potential of ancient reflection for current debates on the ethical dimension of representation. It will appeal to scholars in classics and literary theory alike.
In Enchantment, Orson Scott Card works his magic as never before, transforming the timeless story of Sleeping Beauty into an original fantasy brimming with romance and adventure. The moment Ivan stumbled upon a clearing in the dense Carpathian forest, his life was forever changed. Atop a pedestal encircled by fallen leaves, the beautiful princess Katerina lay still as death. But beneath the foliage a malevolent presence stirred and sent the ten-year-old Ivan scrambling for the safety of Cousin Marek's farm. Now, years later, Ivan is an American graduate student, engaged to be married. Yet he cannot forget that long-ago day in the forest—or convince himself it was merely a frightened boy’s fantasy. Compelled to return to his native land, Ivan finds the clearing just as he left it. This time he does not run. This time he awakens the beauty with a kiss . . . and steps into a world that vanished a thousand years ago. A rich tapestry of clashing worlds and cultures, Enchantment is a powerfully original novel of a love and destiny that transcend centuries . . . and the dark force that stalks them across the ages.
Recent years have seen a great revival of interest in Wittgenstein's early masterpiece, the Tractatus Logico-Philosophicus. The Enchantment of Words is a study of that book, offering novel readings of all its major themes and shedding light on issues in metaphysics, ethics and the philosophies of mind, language, and logic. McManus argues that Wittgenstein's aim in this deeply puzzling work is to show that the 'intelligibility of thought' and the 'meaningfulness of language', which logical truths would delimit and metaphysics and the philosophy of mind and language would explain, are issues constituted by confusions. What is exposed is a mirage of a kind of self-consciousness, a misperception of the ways in which we happen to think, talk and act as reasons why we ought to think, talk and act as we do. The root of that misperception is our confusedly endowing words with a life of their own: we 'enchant', and are 'enchanted by', words, colluding in a confusion that transposes on to them, and the world which we then see them as 'fitting', responsibilities that are actually ours to bear. Such words promise to spare us the trouble, not only of thinking, but of living. In presenting this view, McManus offers readings of all of the major themes of the Tractatus, including its discussion of logical truth, objects, names, inference, subjectivity, solipsism and the ineffable; McManus offers novel explanations of what is at stake in Wittgenstein's comparison of propositions with pictures, of why Wittgenstein declared the point of the Tractatus to be ethical, of how a bookwhich infamously declares itself to be nonsensical can both clarify our thoughts and require of us that we exercise our capacity to reason in reading it, and of how Wittgenstein later came to re-evaluate the achievement of the Tractatus.