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Irfan Ahmad makes the far-reaching argument that potent systems and modes for self-critique as well as critique of others are inherent in Islam--indeed, critique is integral to its fundamental tenets and practices. Challenging common views of Islam as hostile to critical thinking, Ahmad delineates thriving traditions of critique in Islamic culture, focusing in large part on South Asian traditions. Ahmad interrogates Greek and Enlightenment notions of reason and critique, and he notes how they are invoked in relation to "others," including Muslims. Drafting an alternative genealogy of critique in Islam, Ahmad reads religious teachings and texts, drawing on sources in Hindi, Urdu, Farsi, and English, and demonstrates how they serve as expressions of critique. Throughout, he depicts Islam as an agent, not an object, of critique. On a broader level, Ahmad expands the idea of critique itself. Drawing on his fieldwork among marketplace hawkers in Delhi and Aligarh, he construes critique anthropologically as a sociocultural activity in the everyday lives of ordinary Muslims, beyond the world of intellectuals. Religion as Critique allows space for new theoretical considerations of modernity and change, taking on such salient issues as nationhood, women's equality, the state, culture, democracy, and secularism.
The Value of Critique casts its gaze on the two dominant modes of passing judgment in art--critique and value (or evaluation). The act of critique has long held sway in the world of art theory but has recently been increasingly abandoned in favor of evaluation, which advocates alternate modes of judgment aimed at finding the intrinsic "value" of a given work rather than picking apart its intentions and relative success. This book's contributors explore the relationship between these two practices, finding that one cannot exist with the other. As soon as a critic decides an object is worthy enough of their interest and time to critique it, they have imbued that object with a certain value. Similarly, theories of value are typically marked by a critical impetus: as much as critique takes part in the construction of evaluations, bestowing something with value can then trigger critiques. Assembling essays from an international array of authors, this book is the first to put value, critique, and artistic labor in conversation with one another, making clear just how closely all three are related.
What is required of the idea of critique if it is to overcome indifference? This question addresses core themes in modern, post-Kantian and European philosophy, challenging theory's resignation in the face of contemporary political and economic formations. If indifference is to be overcome, critique must be demarcated in its purity, as an idea of critique in and of itself. For the idea of critique to become pure we must view critique as the construction of difference-only pure critique, as the construction of difference, can overcome our current age of indifference. The Idea of Pure Critique will appeal to students of Kant as well as to the many interested in Deleuze and Guattari's contribution to philosophies of difference. More fundamentally, the book presents a series of political and philosophical challenges to the apathy that pervades modern forms of life.
Periodizing contemporary fiction against the backdrop of neoliberalism, After Critique identifies a notable turn away from progressive politics among a cadre of key twenty-first-century authors. Through authoritative readings of foundational texts from writers such as Percival Everett, Helena Viramontes, Uzodinma Iweala, Colson Whitehead, Tom McCarthy, and David Foster Wallace, Huehls charts a distinct move away from standard forms of political critique grounded in rights discourse, ideological demystification, and the identification of injustice and inequality. The authors discussed in After Critique register the decline of a conventional leftist politics, and in many ways even capitulate to its demise. As Huehls explains, however, such capitulation should actually be understood as contemporary U.S. fiction's concerted attempt to reconfigure the nature of politics from within the neoliberal beast. While it's easy to dismiss this as post-ideological fantasy, Huehls draws on an array of diverse scholarship--most notably the work of Bruno Latour--to suggest that an entirely new form of politics is emerging, both because of and in response to neoliberalism. Arguing that we must stop thinking of neoliberalism as a set of norms, ideological beliefs, or market principles that can be countered with a more just set of norms, beliefs, and principles, Huehls instead insists that we must start to appreciate neoliberalism as a post-normative ontological phenomenon. That is, it's not something that requires us to think or act a certain way; it's something that requires us to be in and occupy space in a certain way. This provocative treatment of neoliberalism in turn allows After Critique to reimagine our understanding of contemporary fiction and the political possibilities it envisions.
Immanuel Kant's 'The Three Critiques' is a monumental work in the history of philosophy, featuring three separate critiques that are essential to understanding Kant's philosophy: The Critique of Pure Reason, The Critique of Practical Reason, and The Critique of Judgment. In these critiques, Kant explores the nature of human knowledge, morality, and aesthetic judgments, tackling complex ideas with precision and clarity. His writing style is dense and rigorous, requiring a close reading to grasp the intricate arguments presented within. These critiques are foundational texts in Western philosophy, influencing thinkers from Kant's time to the present day. Kant's emphasis on reason and autonomy in ethics and aesthetics continues to be highly influential in contemporary philosophical debates. Readers will find 'The Three Critiques' to be a challenging yet rewarding read, offering profound insights into the nature of human understanding and value.
This book presents the first sustained articulation of a Foucauldian œuvre. It situates Foucault’s critique within the tradition of Kant’s call for a philosophical archaeology of reason; in parallel, it demonstrates the priority in Foucault’s thought of Nietzsche over Heidegger and the framing of reason against an ontology of power. Bregham Dalgliesh hereby claims that at the heart of the Foucauldian œuvre is the philosophical method of critical history. Its task is to make the will to know that drives thought conscious of itself as a problem, especially the regimes of truth that define our governmentalities. By revealing the contingency of their constituent parts of knowledge, power and ethics, Dalgliesh demonstrates that critical history offers an alternative mode of critique to the hithertofore singular reading of the intellectual heritage of enlightenment, while it fosters an agonistic concept of freedom in respect of our putatively necessary limits.
Fragility is a condition that inhabits the foundations of social life. It remains mostly unnoticed until something breaks and dislocates the sense of completion. In such moments of rupture, the social world reveals the stuff of which it is made and how it actually works; it opens itself to question. Based on this claim, this book reconsiders the place of the notions of crisis and critique as fundamental means to grasp the fragile condition of the social and challenges the normalization and dissolution of these ‘concepts’ in contemporary social theory. It draws on fundamental insights from Hegel, Marx, and Adorno as to recover the importance of the critique of concepts for the critique of society, and engages in a series of studies on the work of Habermas, Koselleck, Arendt, and Foucault as to consider anew the relationship of crisis and critique as immanent to the political and economic forms of modernity. Moving from crisis to critique and from critique to crisis, the book shows that fragility is a price to be paid for accepting the relational constitution of the social world as a human domain without secure foundations, but also for wishing to break free from all attempts at giving closure to social life as an identity without question. This book will engage students of sociology, political theory and social philosophy alike.
While institutional critique has long been an important part of artistic practice and theoretical debate in the visual arts, it has long escaped attention in the field of music. This open access volume assembles for the first time an array of theoretical approaches and practical examples dealing with New Music’s institutions, their critique, and their transformations. For scholars, leaders, and practitioners alike, it offers an important overview of current developments as well as theoretical reflections about New Music and its institutions today. In this way, it provides a major contribution to the debate about the present and future of contemporary music.
Reproduction of the original: Kant's Critique of Judgement by J.H Bernard
Kant's Critique of Judgment is one of the most important works in the history of philosophy. It is a classic text, in which Kant elucidates his aesthetic theory, and is an important piece of philosophical writing. In Kant's 'Critique of Judgment': A Reader's Guide, Fiona Hughes offers a clear and thorough account of this key philosophical work. The book offers a detailed review of the key themes and a lucid commentary that will enable readers to rapidly navigate the text. Concentrating on Kant's Critique of Aesthetic Judgment, the first and most commonly read part of this critique, Hughes explores the complex and important ideas inherent in the text and provides a cogent survey of the reception and influence of Kant's work. Geared towards the specific requirements of undergraduate students, this is the ideal companion to study of this most influential of texts.