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Christine Battersby is a leading thinker in the field of philosophy, gender studies and visual and literary aesthetics. In this important new work, she undertakes an exploration of the nature of the sublime, one of the most important topics in contemporary debates about modernity, politics and art. Through a compelling examination of terror, transcendence and the ‘other’ in key European philosophers and writers, Battersby articulates a radical ‘female sublime’. A central feature of The Sublime, Terror and Human Difference is its engagement with recent debates around ‘9/11’, race and Islam. Battersby shows how, since the eighteenth century, the pleasures of the sublime have been described in terms of the transcendence of terror. Linked to the ‘feminine’, the sublime was closed off to flesh-and-blood women, to ‘Orientals’ and to other supposedly ‘inferior’ human types. Engaging with Kant, Burke, the German Romantics, Nietzsche, Derrida, Lyotard, Irigaray and Arendt, as well as with women writers and artists, Battersby traces the history of these exclusions, while finding resources within the history of western culture for thinking human differences afresh The Sublime, Terror and Human Difference is essential reading for students of continental philosophy, gender studies, aesthetics, literary theory, visual culture, and race and social theory.
This volume challenges current theories of gender, the feminine, and the female and is essential reading for students of gender and feminist theory, philosophy and visual culture.
This book deals with the institutional framework in post-socialist, after-empire spaces. It consists of nine case studies and two contributions of a more theoretical nature. Each of these analytical narratives sheds some light on the micro-politics of organised violence. After 1990, Serbs and Croats were competing over access to the resources needed for institution building and state building. Fear in turn triggered ethnic mobilisation. An 'unprofessional' riot of Serbs in the Krajina region developed into a professional war between Serbs and Croats in Croatia, in which several thousand died and several hundred thousand people were forcefully expelled from their homes. The Herceg-Bosnian style of resistance can be surprisingly effective. It is known that most of the heroin transported along the Balkans route passes through the hands of Albanian mafia groups; that this traffic has taken off since summer 1999. The concept of Staatnation is based on the doctrine according to which each 'nation' must have its own territorial State and each State must consist of one 'nation' only. The slow decline and eventual collapse of the Soviet and the Yugoslav empires was partly triggered, partly accompanied by the quest for national sovereignty. Dagestan is notable for its ethnic diversity and, even by post-Soviet standards, its dramatic economic deprivation. The integrative potential of cooperative movements at the republican, the regional and the inter-state level for the Caucasus is analyzed. The book also offers insights into the economics of ending violence. Finally, it addresses the question of reconciliation after ethnic cleansing.
In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy (with a focus on Kant), nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world.
The diversity of Nietzsche's books, and the sheer range of his philosophical interests, have posed daunting challenges to his interpreters. This Oxford Handbook addresses this multiplicity by devoting each of its 32 essays to a focused topic, picked out by the book's systematic plan. The aim is to treat each topic at the best current level of philosophical scholarship on Nietzsche. The first group of papers treat selected biographical issues: his family relations, his relations to women, and his ill health and eventual insanity. In Part 2 the papers treat Nietzsche in historical context: his relations back to other philosophers--the Greeks, Kant, and Schopenhauer--and to the cultural movement of Romanticism, as well as his own later influence in an unlikely place, on analytic philosophy. The papers in Part 3 treat a variety of Nietzsche's works, from early to late and in styles ranging from the 'aphoristic' The Gay Science and Beyond Good and Evil through the poetic-mythic Thus Spoke Zarathustra to the florid autobiography Ecce Homo. This focus on individual works, their internal unity, and the way issues are handled within them, is an important complement to the final three groups of papers, which divide up Nietzsche's philosophical thought topically. The papers in Part 4 treat issues in Nietzsche's value theory, ranging from his metaethical views as to what values are, to his own values of freedom and the overman, to his insistence on 'order of rank', and his social-political views. The fifth group of papers treat Nietzsche's epistemology and metaphysics, including such well-known ideas as his perspectivism, his INSERT: Included in Starkmann 40% promotion, September-October 2014 being, and his thought of eternal recurrence. Finally, Part 6 treats another famous idea--the will to power--as well as two linked ideas that he uses will to power to explain, the drives, and life. This Handbook will be a key resource for all scholars and advanced students who work on Nietzsche.
The first in-depth treatment of the major theories of the sublime from Longinus to Kant.
A passion for justice and truth motivates the bold challenge of Revisioning Gender in Philosophy of Religion. Unearthing the ways in which the myths of Christian patriarchy have historically inhibited and prohibited women from thinking and writing their own ideas, this book lays fresh ground for re-visioning the epistemic practices of philosophers. Pamela Sue Anderson seeks both to draw out the salient threads in the gendering of philosophy of religion as it has been practiced and to re-vision gender for philosophy today. The arguments put forth by contemporary philosophers of religion concerning human and divine attributes are epistemically located; yet the motivation to recognize this locatedness has to come from a concern for justice. This book presents invaluable new perspectives on the philosopher’s ever-increasing awareness of his or her own locatedness, on the gender (often unwittingly) given to God, the ineffability in both analytic and Continental philosophy, the still critical role of reason in the field, the aims of a feminist philosophy of religion, the roles of beauty and justice, the vision of love and reason, and a gendering which opens philosophy of religion up to diversity.
Winner of Best Performance Design and Scenography Publication Award, Prague Quadrennial 2019 This beautifully illustrated book conveys the centrality of costume to live performance. Finding associations between contemporary practices and historical manifestations, costume is explored in six thematic chapters, examining the transformative ritual of costuming; choruses as reflective of society; the grotesque, transgressive costume; the female sublime as emancipation; costume as sculptural art in motion; and the here-and-now as history. Viewing the material costume as a crucial aspect in the preparation, presentation and reception of live performance, the book brings together costumed performances through history. These range from ancient Greece to modern experimental productions, from medieval theatre to modernist dance, from the 'fashion plays' to contemporary Shakespeare, marking developments in both culture and performance. Revealing the relationship between dress, the body and human existence, and acknowledging a global as well as an Anglo and Eurocentric perspective, this book shows costume's ability to cross both geographical and disciplinary borders. Through it, we come to question the extent to which the material costume actually co-authors the performance itself, speaking of embodied histories, states of being and never-before imagined futures, which come to life in the temporary space of the performance. With a contribution by Melissa Trimingham, University of Kent, UK