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Images of suffering male bodies permeate Western culture, from Francis Bacon’s paintings and Robert Mapplethorpe’s photographs to the battered heroes of action movies. Drawing on perspectives from a range of disciplines—including religious studies, gender and queer studies, psychoanalysis, art history, and film theory—Ecce Homo explores the complex, ambiguous meanings of the enduring figure of the male-body-in-pain. Acknowledging that representations of men confronting violence and pain can reinforce ideas of manly tenacity, Kent L. Brintnall also argues that they reveal the vulnerability of men’s bodies and open them up to eroticization. Locating the roots of our cultural fascination with male pain in the crucifixion, he analyzes the way narratives of Christ’s death and resurrection both support and subvert cultural fantasies of masculine power and privilege. Through stimulating readings of works by Georges Bataille, Kaja Silverman, and more, Brintnall delineates the redemptive power of representations of male suffering and violence.
Friedrich Nietzsche’s intellectual autobiography Ecce Homo has always been a controversial book. Nietzsche prepared it for publication just before he became incurably insane in early 1889, but it was held back until after his death, and finally appeared only in 1908. For much of the first century of its reception, Ecce Homo met with a sceptical response and was viewed as merely a testament to its author’s incipient madness. This was hardly surprising, since he is deliberately outrageous with the ‘megalomaniacal’ self-advertisement of his chapter titles, and brazenly claims ‘I am not a man, I am dynamite’ as he attempts to explode one preconception after another in the Western philosophical tradition. In recent decades there has been increased interest in the work, especially in the English-speaking world, but the present volume is the first collection of essays in any language devoted to the work. Most of the essays are selected from the proceedings of an international conference held in London to mark the centenary of the first publication of Ecce Homo in 2008. They are supplemented by a number of specially commissioned essays. Contributors include established and emerging Nietzsche scholars from the UK and USA, Germany and France, Portugal, Sweden and the Netherlands.
Interacting with theologians throughout the ages, Riches narrates the development of the church’s doctrine of Christ as an increasingly profound realization that the depth of the difference between the human being and God is realized, in fact, only in the perfect union of divinity and humanity in the one Christ. He sets the apostolic proclamation in its historical, theological, philosophical, and mystical context, showing that, as the starting point of “orthodoxy,” it forecloses every theological attempt to divide or reduce the “one Lord Jesus Christ.”
'Why do I know a few more things? Why am I so clever altogether?' Self-celebrating and self-mocking autobiographical writings from Ecce Homo, the last work iconoclastic German philosopher Nietzsche wrote before his descent into madness. One of 46 new books in the bestselling Little Black Classics series, to celebrate the first ever Penguin Classic in 1946. Each book gives readers a taste of the Classics' huge range and diversity, with works from around the world and across the centuries - including fables, decadence, heartbreak, tall tales, satire, ghosts, battles and elephants.
In this commentary on chapter one, "Why I am So Wise," of Nietzsche's Ecce Homo, the author dispels the long-standing impression that Ecce Homo is an irrational book in which the madness that claimed Nietzsche only months after he began writing it had already begun its work. Ecce Homo, it is alleged, is not egotistical, or narcissistic, or megalomaniacal. It is not a work of madness. In his linear exposition of this first chapter, the author presents Nietzsche's revelation of the tragic fact that his very aliveness was in a state of being overwhelmed, consumed, by powerful unconscious emotion, the condition he called decadence. Nietzsche's madness may have caused him to lose perspective on the meaning of having dwelt in "a world of exalted and delicate things," as he writes of himself in Ecce, but the original experience of elevation that comes of an abundance of life, of a surplus of life, certainly was not pathological.
John Lister-Kaye has spent a lifetime exploring, protecting and celebrating the British landscape and its creatures. His memoir The Dun Cow Rib is the story of a boy's awakening to the wonders of the natural world. Lister-Kaye's joyous childhood holidays - spent scrambling through hedges and ditches after birds and small beasts, keeping pigeons in the loft and tracking foxes around the edge of the garden - were the perfect apprenticeship for his two lifelong passions: exploring the wonders of nature, and writing about them. Threaded through his adventures - from moving to the Scottish Highlands to work with Gavin Maxwell, to founding the famous Aigas Field Centre - is an elegy to his remarkable mother, and a wise and affectionate celebration of Britain's natural landscape.
For the title of his autobiography, Friedrich Nietzsche chose Pilate's words upon discharging Christ to the mob: Ecce Homo, or "Behold the man". The original subtitle, How One Becomes What One is, suggests psychologically intriguing exploration of the philosopher's personal history.
Looks at the efforts of the J Paul Getty Museum to preserve and expose a stunning 16th century triptych. This book documents the dramatic process of revealing the brilliance of a 16th-century masterpiece.