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Collecting together numerous examples of Augustine's musical imagery in action, Laurence Wuidar reconstructs the linguistic laboratory and the hermeneutics in which he worked. Sensitive and poetical, this volume is a reminder that the metaphor of music can give access not only to human interiority, but allow the human mind to achieve proximity to the divine mind. Composed by one of Europe's leading musicologists now engaging an English-speaking audience for the first time, this book is a candid exploration of Wuidar's expertise. Drawing on her long knowledge of music and the occult, from antiquity to modernity, Wuidar particularly focuses upon Augustine's working methods while refusing to be distracted by questions of faith or morality. The result is an open and at times frightening vista on the powers that be, and our complex need to commune with them.
Articulating an Augustinian treatment of the nature, limits, meaning, and end of work, this volume will push Augustinian studies toward a more-detailed engagement with issues of political economy. Zachary Settle argues that we inhabit a culture that insists that our life's meaning is bound up in our work; we experience constant pressures at work to be more efficient and productive; and we know the ways in which our work-structures contribute to a seemingly ever-growing, corrosive system of poverty and oppression. These cultural assumptions regarding work, along with a cluster of other labor-related problems (i.e. automation, wage depression, wage theft, the rise of a flexible labor force, a lack of worker representation, over-work, and productivism) have rightfully raised a number of questions about the nature, meaning, and limits of our working lives and working structures. This book sets out the ways in which St. Augustine offers us-in piecemeal fashion-elements with which we can assemble an alternative vision. By examining his understanding of the role of work in the context of the monastery, we see his understanding of both the ways we should undertake our work and the ends toward which we should direct that work during our lives in a sinful world. Settle draws on these piecemeal treatments of work scattered throughout St. Augustine's varied writings in order to develop and articulate a unified theology of work.
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Drawn from the world's most beloved songs, the more than 70 examples in this book explore the history and crucial elements of melody, which is the very basis of song. This unique guide allows readers a new insight into the composition of songs and focuses solely on how simple musical lines combined with the right texts can make a catchy melodic phrase that lasts throughout the ages without consideration of harmony, counterpoint or other constructs.
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
The essay, as a notably hard form of writing to pin down, has inspired some unflattering descriptions: It is a “greased pig,” for example, or a “pair of baggy pants into which nearly anything and everything can fit.” In Tracing the Essay, G. Douglas Atkins embraces the very qualities that have moved others to accord the essay second-class citizenship in the world of letters. Drawing from the work of Montaigne and Bacon and recent practitioners such as E. B. White and Cynthia Ozick, Atkins shows what the essay means--and how it comes to mean. The essay, related to assaying (attempting), mines experience for meaning, which it then carefully weighs. It is a via media creature, says Atkins, born of and embracing tension. It exists in places between experience and meaning, literature and philosophy, self and other, process and product, form and formlessness. Moreover, as a literary form the essay is inseparable from a way of life requiring wisdom, modesty, and honesty. “The essay was, historically,” notes Atkins, “the first form to take the experience of the individual and make it the stuff of literature.” Atkins also considers the essay’s basis in Renaissance (and Reformation) thinking and its participation in voyages of exploration and discovery of that age. Its concern is “home-cosmography,” to use a term from seventeenth-century writer William Habington. Responding to influential critiques of the essay’s supposed self-indulgence, lack of irony, and absence of form, Atkins argues that the essay exhibits a certain “sneakiness” as it proceeds in, through, and by means of the small and the mundane toward the spiritual and the revelatory.
This unique work analyzes the crisis in modern society, building on the ideas of the Frankfurt School thinkers. Emphasizing social evolution and learning processes, it argues that crisis is mediated by social class conflicts and collective learning, the results of which are embodied in constitutional and public law. First, the work outlines a new categorical framework of critical theory in which it is conceived as a theory of crisis. It shows that the Marxist focus on economy and on class struggle is too narrow to deal with the range of social conflicts within modern society, and posits that a crisis of legitimization is at the core of all crises. It then discusses the dialectic of revolutionary and evolutionary developmental processes of modern society and its legal system. This volume in the Critical Theory and Contemporary Society by a leading scholar in the field provides a new approach to critical theory that will appeal to anyone studying political sociology, political theory, and law.
A survey of historical, theological and philosophical arguments for a democratization of the Christian church.
Whether regarded as a perplexing object, a morally captivating force, an ineffable entity beyond language, or an inescapably embodied human practice, music has captured philosophically inclined minds since time immemorial. In turn, musicians of all stripes have called on philosophy as a source of inspiration and encouragement, and scholars of music through the ages have turned to philosophy for insight into music and into the worlds that sustain it. In this Handbook, contributors build on this legacy to conceptualize the rich interactions of Western music and philosophy as a series of meeting points between two vital spheres of human activity. They draw together key debates at the intersection of music studies and philosophy, offering a field-defining overview while also forging new paths. Chapters cover a wide range of musics and philosophies, including concert, popular, jazz, and electronic musics, and both analytic and continental philosophy.
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