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As eyes are like windows to the soul, writing is like a door. You get more than a glimpse; you are being invited into a person's innermost thoughts, desires and dreams.Percy Glover has seen and experienced a lot in life, and has proven time and again that your current position does not dictate your future success.-- Danielle E. Ward, author of Warning Signs: what every woman should know
Critics typically regard Abe Kobo (1924-93) as writing against realism, due to his avant-garde aesthetics that challenged the Naturalist realism dominating the literary mainstream and the Socialist realism of the orthodox Left in postwar Japan. He considered his work thoroughly realist, however, and starting in the early 1950s in a series of avant-garde art and literary groups, he championed the possibility of a vital, contemporary realism that challenged the reader to question the "reality" represented in the text through increasingly self-conscious writing strategies. Through a reassessment of the texts in which he worked out his theory of realism, this study traces the development of his commitment to making "truth from a lie"—to fiction, drama, and reportage that openly display their artifice. Key argues that the reflexivity of Abe's texts, which lay bare their own processes of artificial construction in order to reflect how our everyday sense of reality is constructed and maintained, created a critical space for metatextual ideas that were not acknowledged by the literary establishment of his time and have yet to be recognized by critics today. Undergirding his theory and practice of realism was a critique of conventional documentary and of the classic detective story. The texts examined here expose the degree to which the documentarian and the detective are active fabricators of meaning rather than neutral observers of fact. By paying close attention to the tension between the documentary and the fictive in Abe's works, Key draws out the ethical implications of his documentary approach, arguing persuasively that the documentary qualities of his writing, such as its valorization of objectivity over psychologism and the realm of "concrete things" over abstraction are strategies for challenging the dominant assumptions about what constitutes good ethics and good art, as well as the relationship between these two spheres.
This book is a systematic study of religious morality in the works of John Henry Newman (1801-1890). The work considers Newman’s widely discussed views on conscience and assent, analyzing his understanding of moral law and its relation to the development of moral doctrine in Church tradition. By integrating Newman’s religious epistemology and theological method, the author explores the hermeneutics of the imagination in moral decision-making: the imagination enables us to interpret complex reality in a practical manner, to relate belief with action. The analysis bridges philosophical and religious discourse, discussing three related categories. The first deals with Newman’s commitment to truth and holiness whereby he connects the realm of doctrine with the realm of salvation. The second category considers theoretical foundations of religious morality, and the third category explores Newman’s hermeneutics of the imagination to clarify his view of moral law, moral conscience, and Church tradition as practical foundations of religious morality. The author explains how secular reason in moral discernment can elicit religious significance. As a result, Church tradition should develop doctrine and foster holiness by being receptive to emerging experiences and cultural change. John Henry Newman was a highly controversial figure and his insightful writings continue to challenge and influence scholarship today. This book is a significant contribution to that scholarship and the analysis and literature comprise a detailed research guide for graduates and scholars.
Where is your mind located? How does it interact with your body? When your body dies, does your mind die too, or does it have an afterlife? That's the mystery of existence. If humanity cannot answer these questions once and for all then it has no understanding of reality. Holography is what allows scientific materialism to be replaced by mathematical idealism. Holography allows the soul, rather than matter, to be considered the source of reality. Over 300 years ago, Leibniz, with his Monadology, adopted a holographic model of reality, whereby dimensionless monads created the illusion of the dimensional material world. The answer to existence has always been right in front of humanity – in the shape of mathematics. The spacetime universe of matter is nothing but an ontological hologram that comes inbuilt with mathematical forcefields that lend it the illusion of being solid. It's all in the math. Everything starts with unextended minds = dimensionless Fourier singularities = mathematical souls.
Proctor lucidly demonstrates how value-neutrality is a reaction to larger political developments, including the use of science by government and industry, the specialization of professional disciplines, and the efforts to stifle intellectual freedoms or to politicize the world of the academy.
A limen links the interior of a building to what lies outside it. It is also the connection between any one of its rooms and other areas of the building. It is thus a kind of necessary included middle marking the transition from one domain to another. We are often tempted to think that the boundary between truth and falsity must always be absolute, and thus that there is no possible bridge between the two; in other words, that it is the nature of any genuine truth to be completely contradicted by its denial. In Liminality in Questions of Truth: The Law of the Included Middle, Donald A. Crosby questions this idea, calling it a Law of the Excluded Middle and contending that, in many cases, there is a Law of the Included Middle that must be carefully considered and thoughtfully applied. Absolute, either/or truths are rare, and most claimed truths, when carefully examined, are imprecise, in need of further investigation, or no longer tenable in their present form. This is especially the case when the alleged truths relate to fundamental, wide-ranging issues of conviction, purpose, and value. Failing to ask the right questions can bar the way to more satisfactory answers. This book argues that searching for liminal bridges between opposing claims is an essential part of such questioning.
Presents a methodological basis for a philosophy of concrete actuality. Also breaks new ground in its mediation between two varied traditions of speculative philosophy.
The Italian author Giovanni Gentile (1875-1944) occupied a radical position among philosophers of the first half of the twentieth century. He tried in earnest to revolutionize idealist theory, developing a doctrine that retained the idealist conception of the thinking subject as the centre and source of any intelligible reality, while eschewing many of the unwarranted abstractions that had pervaded earlier varieties of idealism and led their adherents astray. Given his great prominence during his lifetime, it is perhaps remarkable that Gentile is so little discussed, and even then so poorly understood, in the English-speaking world. Few of his works have ever been translated into English, and these represent only a fraction of his great corpus and the many topics discussed therein. This neglect is partly explained by his close association with the Partito Nazionale Fascista (National Fascist Party), of which he remained a loyal member and supporter between 1923 and his assassination in 1944. The volume comprises eleven essays. Seven of these are new pieces written especially for Thought Thinking, and are intended both to contribute to ongoing debates about Gentile's philosophy and to indicate just a few of its many aspects that continue to draw the attention of philosophers, political theorists and intellectual historians. These are supplemented by new English translations of four of Gentile's shorter works, selected to offer some direct insight into his ideas and style of writing.