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This collection of interviews brings together seven post-continental thinkers to discuss their own personal academic development, their experiences of graduate school and their hopes for post-continental philosophy. Each thinker has been chosen for their importance, popularity and potential. Opening with a short introduction this book offers a rare insight into the world of academic philosophy from the inside. Acting as a handbook to post-continental philosophy this book will prepare students for the unique challenges facing academic philosophy in the coming years. The following thinkers appear in the book: Graham Harman, Jeffrey Malpas, Lee Braver, Stuart Elden, Ian Bogost, Levi R. Byrant, and Adrian Ivakhiv.
Sheds new light on the presence and impact of Continental European literary traditions in post-Napoleonic Britain.
The question of the limits of the political permeates the history of western political thought and has been at the forefront of debates in contemporary political philosophy, especially in French and Italian contexts. This book argues that the question of radical political exteriority fell into neglect despite post-War critiques of totalitarian political ontology. The notion of ‘the political’ developed into a new form of totality, one which admits the impossibility of closure and yet refuses to let go of its totalizing ambition. Viriasova addresses this problem by offering a critical introduction to the debate on the concept of the political in contemporary continental philosophy, and develops an innovative perspective that allows us to rethink the limits of the political in affirmative and realist terms. The book explores such recent developments as Roberto Esposito’s notion of the impolitical, Giorgio Agamben’s concept of bare life, Michel Henry’s radical phenomenology of life, the speculative realist philosophy of Quentin Meillassoux, as well as Buddhist political thought. The book makes a vital contribution to an emerging body of literature in contemporary philosophy that renews the fundamental questions of political ontology in response to the multiplying crises of inclusion that challenge democratic communities today.
Reads Romantic literature through the lens of 21st century speculative realist philosophyRead and download the series editor's preface (by Graham Harman) and the Introduction to Romantic Realities for free nowSpeculative realism is one of the most exciting, influential and controversial new branches of philosophy to emerge in recent years. Now, Evan Gottlieb shows that the speculative realism movement bears striking a resemblance to the ideas and beliefs of the best-known British poets of the Romantic era.Romantic Realities analyses the parallels and echoes between the ideas of the most influential contemporary practitioners of speculative realism and the poetry and poetics of the most innovative Romantic poets. In doing so, it introduces you to the intellectual precedents and contemporary stakes of speculative realism, together with new understandings of the philosophical underpinnings and far-reaching insights of British Romanticism.Readings include:The poetry and poetics of Wordsworth in relation to Graham Harman's object-oriented ontology and Timothy Morton's dark ecologyColeridge's poems and ideas in relation to Ray Brassier's philosophical nihilism and Iain Hamilton Grant's revisionist readings of SchellingShelley's oeuvre in relation to Quentin Meillassoux's radical immanentism and Manuel DeLanda's process ontologyByron's best-known poems in relation to Alain Badiou's truth procedures and Bruno Latour's actor-network-theoryKeats' oeuvre in relation to Levi Bryant's onticology and Ian Bogost's alien phenomenology"e;
The recent turns to affect and aesthetics in the humanities and the interpretive social sciences have been productive for reflecting on the crucial role sensibility plays in the constitution of the social. However, these scholarly developments construct their interventions by dismissing the attention to language that was central to the linguistic and cultural turns of previous eras and by claiming that language is an obstacle to experiencing the reality of difference to which they maintain only sensibility can grant access. By analyzing the figure of the voice in the work of Martin Heidegger and the continental thinkers who follow him, The Scene of the Voice shows that the dismissal of language in favor of sensibility requires overlooking their common connection in the problem of mimesis. As this book ultimately argues, artificially separating language and sensibility results in a failure to encounter affect, the relation to difference affect is said to name, and the experience of thinking affect is taken to provoke.
David Weinberg’s multi-national study, focusing on France, Belgium, and the Netherlands, offers a wide lens through which to view post-war efforts to help Jewish communal life recover its voice and its raison d’être. By underscoring the similarities in the situation facing Jews across borders, he demonstrates how the three communities with the aid of international Jewish organizations utilized unprecedented means to meet unprecedented challenges. His thematic approach adds much to our understanding of post-war European Jewish life.
From analytic epistemology to gender theory, testimony is a major topic in philosophy today. Yet, one distinctive approach to testimony has not been fully appreciated: the recent history of contemporary continental philosophy offers a rich source for another approach to testimony. In this book, Gert-Jan van der Heiden argues that a continental philosophy of testimony can be developed that is guided by those forms of bearing witness that attest to limit experiences of human existence, in which the human is rendered mute, speechless, or robbed of a common understanding. In the first part, Van der Heiden explores this sense of testimony in a reading of several literary texts, ranging from Plato's literary inventions to those of Kierkegaard, Melville, Soucy, and Mortier. In the second part, based on the orientation offered by the literary experiments, Van der Heiden offers a more systematic account of testimony in which he distinguishes and analyzes four basic elements of testimony. In the third part, he shows what this analysis implies for the question of the truth and the truthfulness of testimony. In his discussion with philosophers such as Heidegger, Derrida, Lyotard, Agamben, Foucault, Ricoeur, and Badiou, Van der Heiden also provides an overview of how the problem of testimony emerges in a number of thinkers pivotal to twentieth- and twenty-first-century thought.
Do we really need philosophy? The present collection of jargon-free essays aims at answering the question of why philosophy matters. Each essay considers the central question (Why Philosophy?) from different angles: the unavoidability of doing philosophy, the practical consequences of philosophy, philosophy as a therapy for the whole person, the benefits of philosophy for improving public policy, etc.
After Sound considers contemporary art practices that reconceive music beyond the limitation of sound. This book is called After Sound because music and sound are, in Barrett's account, different entities. While musicology and sound art theory alike typically equate music with pure instrumental sound, or absolute music, Barrett posits music as an expanded field of artistic practice encompassing a range of different media and symbolic relationships. The works discussed in After Sound thus use performance, text scores, musical automata, video, social practice, and installation while they articulate a novel aesthetic space for a radically engaged musical practice. Coining the term "critical music," this book examines a diverse collection of art projects which intervene into specific political and philosophical conflicts by exploring music's unique historical forms. Through a series of intimate studies of artworks surveyed from the visual and performing arts of the past ten years-Pussy Riot, Ultra-red, Hong-Kai Wang, Peter Ablinger, Pauline Boudry and Renate Lorenz, and others-After Sound offers a significant revision to the way we think about music. The book as a whole offers a way out of one of the most vexing deadlocks of contemporary cultural criticism: the choice between a sound art effectively divorced from the formal-historical coordinates of musical practice and the hermetic music that dominates new music circles today.