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What is the je-ne-sais-quoi? How - if at all - can it be put into words? In addressing these questions, Richard Scholar offers the first full-length study of the je-ne-sais-quoi and its fortunes in early modern Europe. He describes the rise and fall of the expression as a noun and as a topic of debate, examines its cluster of meanings, and uncovers the scattered traces of its 'pre-history'. The je-ne-sais-quoi is often assumed to belong purely to the realmof the literary, but in the early modern period it serves to articulate problems of knowledge in natural philosophy, the passions, and culture, and for that reason it is approached here from an interdisciplinary perspective. Placing major figures of the period such as Montaigne, Shakespeare, Descartes, Corneille, and Pascalalongside some of their lesser-known contemporaries, Scholar argues that the je-ne-sais-quoi serves above all to capture first-person encounters with a 'certain something' that is as difficult to explain as its effects are intense. When early modern writers use the expression in this way, he suggests, they give literary form to an experience that twenty-first-century readers may recognize as something like their own.
What is the je-ne-sais-quoi? How-if at all-can it be put into words? In addressing these questions, Richard Scholar offers the first full-length study of the je-ne-sais-quoi and its fortunes in early modern Europe. He describes the rise and fall of the expression as a noun and as a topic of debate, examines its cluster of meanings, and uncovers the scattered traces of its 'pre-history'. The je-ne-sais-quoi is often assumed to belong purely to the realm of the literary, but in the early modern period it serves to articulate problems of knowledge in natural philosophy, the passions, and culture, and for that reason it is approached here from an interdisciplinary perspective. Placing major figures of the period such as Montaigne, Shakespeare, Descartes, Corneille, and Pascal alongside some of their lesser-known contemporaries, Scholar argues that the je-ne-sais-quoi serves above all to capture first-person encounters with a 'certain something' that is as difficult to explain as its effects are intense. When early modern writers use the expression in this way, he suggests, they give literary form to an experience that twenty-first-century readers may recognize as something like their own.
In this Handbook twenty-six leading scholars survey the development of philosophy between the middle of the sixteenth century and the early eighteenth century. The five parts of the book cover metaphysics and natural philosophy; the mind, the passions, and aesthetics; epistemology, logic, mathematics, and language; ethics and political philosophy; and religion. The period between the publication of Copernicus's De Revolutionibus and Berkeley's reflections on Newton and Locke saw one of the most fundamental changes in the history of our way of thinking about the universe. This radical transformation of worldview was partly a response to what we now call the Scientific Revolution; it was equally a reflection of political changes that were no less fundamental, which included the establishment of nation-states and some of the first attempts to formulate a theory of international rights and justice. Finally, the Reformation and its aftermath undermined the apparent unity of the Christian church in Europe and challenged both religious beliefs that had been accepted for centuries and the interpretation of the Bible on which they had been based. The Handbook surveys a number of the most important developments in the philosophy of the period, as these are expounded both in texts that have since become very familiar and in other philosophical texts that are undeservedly less well-known. It also reaches beyond the philosophy to make evident the fluidity of the boundary with science, and to consider the impact on philosophy of historical and political events—explorations, revolutions and reforms, inventions and discoveries. Thus it not only offers a guide to the most important areas of recent research, but also offers some new questions for historians of philosophy to pursue and to have indicated areas that are ripe for further exploration.
Literary Knowing in Neoclassical France analyzes the work of several literary critics in France and England, at the end of the seventeenth and beginning of the eighteenth centuries, who were inspired by the idea that literature - especially the literary sublime - might offer us the deepest kind of knowledge. Dominique Bouhours, Nicolas Boileau, Ren Rapin, John Dennis, and the abb Dubos believed that literature could deliver truths that transcend our world and were analogous or even equal to the truths of divine revelation. Ann Delehanty argues that this shift towards the transcendental realm pushed the definition of the literary work away from describing its objective properties and towards its effects on the mind of the reader. After placing these ideas about literature in the context of the religious and philosophical thinking of Blaise Pascal, Delehanty traces the evolution of a debate about literature in the writings of the critics in question. They embraced theories of sentiment and the passions as the epistemological means of identifying and knowing the transcendental aspects of a literary work that eventually came to be known as aesthetics. By tracing the historical evolution of the relationship between transcendentalism and aesthetics in French and English neoclassical thought, Literary Knowing in Neoclassical France provides new and engaging insights into an important moment in our literary history.
Milton, the Sublime and Dramas of Choice challenges readers and scholars to rethink Milton’s relationship to the sublime in terms of ethics. The book demonstrates that Milton’s sublimity merges the early modern reception of Longinus with classical, medieval, and Renaissance categories of magnanimity, wonder, and inspiration to investigate the relations between human and divine agency. Under the influence of early modern models of sublimity, including Spenser and Shakespeare, Milton speaks through his fictional characters about the making of heroic and literary virtue. In turn, the work also sheds light on the importance of tragedy as an additional source to the formation of the Renaissance sublime. Milton’s tragic plots illustrate how the character’s virtue is tested, strengthened, and eventually transformed into an experience of elevation. The study explores the heroic path from dramatic choice to self-realisation, offering extensive treatments of Milton’s dramas – A Maske and Samson Agonistes. The redefinition of the pairing “Milton and the sublime” in this work aims to relocate the poet within the English literary history as the climax of earlier traditions and receptions of the sublime, but also as the starting point of modern sublimity
The Metaphysics of Night acknowledges a post-secular philosophy, one that puts philosophy into serious dialogue with religion, rather than considering religion a thing of the past. Matthew Del Nevo deals with the cultural unconscious, inseparable from religious consciousness, and draws on psychoanalysis and literature as well as philosophy. The metaphysics of the night is Del Nevo's metaphor for the deep and mysterious expanse of the soul. Philosophically, the book is critical of Enlightenment presumptions about knowledge and truth and overly spiritualizing tendencies in religion. Its critical edge cuts against materialist and historicist tendencies in the humanities and abstract intellectualism in philosophy. Arguing for strong aesthetic values, Del Nevo defends and explains soul and soulful experience, the creation of depth, the ineffable, real presence, beauty, and saving words, noting that the sources of all these are in us, but often are blocked. Each of the five parts of this book testify to what the author notes may be forgotten, but which ought not to be forgotten. It is necessary for life as socially, religiously, and educationally instituted within culture and as constitutive for culture. Del Nevo deals with sensibility as a form of wisdom and instinct that is not cognitive or knowledge/information based. He argues for a shift of emphasis in culture from intellect to intuition. This well-written work, filled with Catholic, philosophic, and artistic thought will be of interest to all philosophers, theologians, and students of culture.
What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music's essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths. The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art. Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music's effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.
This volume presents the work of the “Collegium for the Advanced Study of the Picture Act and Embodiment” at the London Warburg Institute. It gathers studies on various topics: on the history and anthropology of the “picture act” (Bildakt); on theoretical and methodological aspects of picture act theory; on the role of image perception in the philosophy of the extended mind; on phenomena related to haptic experience of the image in the Middle Ages and early modern period; on somatic communication processes; on semiotic aspects of iconological thinking; and on the living dynamics of internal and external movement in imagery and language.
Magnanimity is a virtue that has led many lives. Foregrounded early on by Plato as a philosophical virtue par excellence, it became one of the crown jewels in Aristotle's account of human excellence and was accorded equally salient place by other ancient thinkers. It is one of the most distinctive elements of the ancient tradition to filter into the medieval Islamic and Christian worlds. It sparked important intellectual engagements and went on to carve deep tracks through several of the later philosophies to inherit from this tradition. Under changing names and reworked forms, it would continue to breathe in the thought of Descartes and Hume, Kant, and Nietzsche. Its many lives have been joined by important continuities, yet they have also been fragmented by discontinuities -- discontinuities reflecting larger shifts in ethical perspectives and competing answers to questions about the nature of the good life, the moral nature of human beings, and their relationship to the social and natural world they inhabit. They have also been punctuated by moments of intense controversy in which the vision of human greatness has itself been called into doubt. The aim of this volume is to provide an insight into the complex trajectory of a virtue whose glitter has at times been as dazzling as it has been divisive. By exploring the many lives it has lived, we will be in a better position to evaluate whether this is a virtue we still want to make central to our own ethical lives, and why.
A groundbreaking translation of the epic work of one of the great minds of the nineteenth century Giacomo Leopardi was the greatest Italian poet of the nineteenth century and was recognized by readers from Nietzsche to Beckett as one of the towering literary figures in Italian history. To many, he is the finest Italian poet after Dante. (Jonathan Galassi's translation of Leopardi's Canti was published by FSG in 2010.) He was also a prodigious scholar of classical literature and philosophy, and a voracious reader in numerous ancient and modern languages. For most of his writing career, he kept an immense notebook, known as the Zibaldone, or "hodge-podge," as Harold Bloom has called it, in which Leopardi put down his original, wide-ranging, radically modern responses to his reading. His comments about religion, philosophy, language, history, anthropology, astronomy, literature, poetry, and love are unprecedented in their brilliance and suggestiveness, and the Zibaldone, which was only published at the turn of the twentieth century, has been recognized as one of the foundational books of modern culture. Its 4,500-plus pages have never been fully translated into English until now, when a team under the auspices of Michael Caesar and Franco D'Intino of the Leopardi Centre in Birmingham, England, have spent years producing a lively, accurate version. This essential book will change our understanding of nineteenth-century culture. This is an extraordinary, epochal publication.