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Through a series of studies by leading scholars in the field, At the Edges of Thought sheds new light on key philosophical encounters with thinkers such as Maimon, Kleist, Hoelderlin, Fichte, Hegel, Schopenhauer and Feuerbach in Deleuze's texts.
Through a series of studies by leading scholars in the field, At the Edges of Thought sheds new light on key philosophical encounters with thinkers such as Maimon, Kleist, Hoelderlin, Fichte, Hegel, Schopenhauer and Feuerbach in Deleuze's texts.
For the Greeks and Romans the earth's farthest perimeter was a realm radically different from what they perceived as central and human. The alien qualities of these "edges of the earth" became the basis of a literary tradition that endured throughout antiquity and into the Renaissance, despite the growing challenges of emerging scientific perspectives. Here James Romm surveys this tradition, revealing that the Greeks, and to a somewhat lesser extent the Romans, saw geography not as a branch of physical science but as an important literary genre.
Drawing on scholarly and life experience on, and over, the historically posited borders between "West" and "East," the work identifies, interrogates, and challenges a particular, enduring, violent inheritance – what it means to cross over a border – from the classical origins of Western political thought. The study has two parts. The first is an effort to work within the Western tradition to demonstrate its foundational and enduring, violent conception of crossing over borders. The second is a creative effort to explore and encourage a fundamentally different outlook towards borders and what it means to be on, at, or over them. The underlying social theoretical disposition of the work is a form of post-Orientalist hermeneutics; the textual subject matter of the two parts of the study is linked using Walter Benjamin's concept of the storyteller. The underlying premise of the work is that the sense of violent possibility on the borders between "West" and "East" existed well before the more recent "age of imperialism" and even before there was a "West" or an "East" to speak of. That sense is constitutive of a political imagination about borders developed deep within the revered sources of Western culture. On the other hand, confronting the influence of such violent imaginaries requires truly novel modes of hermeneutical openness, hospitality and solidarity. Seeking to offer a new understanding and opening in the study of borders, this work will provide a significant contribution to several areas including international relations theory, border studies and political theory.
From one of continental philosophy's most distinctive voices comes a creative contribution to spatial studies, environmental philosophy, and phenomenology. Edward S. Casey identifies how important edges are to us, not only in terms of how we perceive our world, but in our cognitive, artistic, and sociopolitical attentions to it. We live in a world that is constantly on edge, yet edges as such are rarely explored. Casey systematically describes the major and minor edges that configure the human and other-than-human realms, including our everyday experience. He also explores edges in high- stakes situations, such as those that emerge in natural disasters, moments of political and economic upheaval, and encroaching climate change. Casey's work enables a more lucid understanding of the edge-world that is a necessary part of living in a shared global environment.
In At the Edges of Vision, Ren?van de Vall re-examines the aesthetics of spectatorship in terms of new-media art and visual culture. The aesthetic experience of visual art has traditionally been described in terms of the distanced contemplation and critical interpretation of the work's form and representational content. Recent developments in installation, video and computer art have foregrounded the bodily and affective engagement of the spectator and, in retrospect, throw into question the model of spectatorial distance for more traditional art forms as well. But what does this development entail for art's potential for reflective, imaginative and experiential depth? Is art still capable of providing a critical counterpoint to the ubiquitous presence of sensational, yet short-lived media imagery when it speaks to the senses rather than to the mind? In a thorough examination of examples from painting, film, installation art and interactive video, and computer art, Van de Vall argues for a tactile and affective conception of reflection, linking philosophy and art. Looking at a Rembrandt self-portrait and navigating through an internet art work have in common that both types of work rely on a playful, rhythmically structured, sensuous and embodied reflexivity for the articulation of meaning. This sensuous dimension of playful reflexivity is just as important in philosophical thought, however, as the transcendental condition for genuine, open-ended reflection. Drawing on the philosophy of Merleau-Ponty, Levinas, Lyotard and Deleuze on the one hand and on new-media theory on the other, Van de Vall develops a performative phenomenology of aesthetic reflection, visuality and visual art, in order to rethink art's ethical and political relevance in present-day digital-media culture.
A new edition of this introduction to Deleuze's seminal work, Difference and Repetition, with new material on intensity, science and action and new engagements with Bryant, Sauvagnargues, Smith, Somers-Hall and de Beistegui.
The limit of language is one of the most pervasive notions found in Wittgenstein’s work, both in his early Tractatus Logico-Philosophicus and his later writings. Moreover, the idea of a limit of language is intimately related to important scholarly debates on Wittgenstein’s philosophy, such as the debate between the so-called traditional and resolute interpretations, Wittgenstein’s stance on transcendental idealism, and the philosophical import of Wittgenstein’s latest work On Certainty. This collection includes thirteen original essays that provide a comprehensive overview of the various ways in which Wittgenstein appeals to the limit of language at different stages of his philosophical development. The essays connect the idea of a limit of language to the most important themes discussed by Wittgenstein—his conception of logic and grammar, the method of philosophy, the nature of the subject, and the foundations of knowledge—as well as his views on ethics, aesthetics, and religion. The essays also relate Wittgenstein’s thought to his contemporaries, including Carnap, Frege, Heidegger, Levinas, and Moore.
Why do some book covers instantly grab your attention, while others never get a second glance? Fusing word and image, as well as design thinking and literary criticism, this captivating investigation goes behind the scenes of the cover design process to answer this question and more. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW As the outward face of the text, the book cover makes an all-important first impression. The Look of the Book examines art at the edges of literature through notable covers and the stories behind them, galleries of the many different jackets of bestselling books, an overview of book cover trends throughout history, and insights from dozens of literary and design luminaries. Co-authored by celebrated designer and creative director Peter Mendelsund and scholar David Alworth, this fascinating collaboration, featuring hundreds of covers, challenges our notions of what a book cover can and should be.