Download Free Essays In National Idealism Book in PDF and EPUB Free Download. You can read online Essays In National Idealism and write the review.

This book brings together for the first time R. G. Collingwood's political and related writings, in which he places political action in the context of action as a whole and addresses the substantive social and political issues - in particular Nazism and Fascism - which he perceived as a threatto European civilization. This is the first time that substantial philosophical arguments from the unpublished manuscripts have been reproduced since Malcolm Knox edited the posthumously published Idea of History.
'As the primary liberatory project, anarchism - the project which aims at the abolition of all forms of power, control, and coercion - remains entitled to appropriate the work of one of the greatest iconoclasts of all time. And although Nietzsche was rather harsh on his anarchist contemporaries - or more precisely on a type of contemporary anarchist - he nevertheless in some respects shared with them a vision of total transformation. The notion of a transvaluation of all values clearly remains not merely compatible with, but an integral component of the anarchist project, and the idea of philosophy with a hammer underlies the anarchist commitment to radical social transformation.'- John Moore, in "Attentat Art"This collection of essays is intended to examine various dimensions of the interactions between anarchism and Nietzsche. The aim of this volume is twofold: first, to provide instances of the historical appropriation of Nietzsche by anarchists, and second, to provide instances of appropriations and readings of Nietzsche by contemporary anarchist thinkers and commentators.The volume is thus divided into two sections, the historical and the contemporary, or in other words the periods of modernity and postmodernity. The historical section comprises four essays which consider historical appropriations of Nietzsche from a variety of ideological perspectives from the early twentieth century. Daniel Colson provides an overview of Nietzsche and the libertarian tradition and focusses on the appropriation of Nietzsche by French anarcho-syndicalists. Leigh Starcross reconstructs the ideas of Emma Goldman on Nietzsche and thus investigates an important intersection between anarchism, individualism and feminism. Allan Antliff considers the synthesis between anarchism, Eastern traditions and Nietzschean thought effected by Ananda Coomaraswamy, providing an important post-colonialist perspective to the topic. Finally, the modernity section includes the neglected but historically significant 1902 essay by the British anarchist Guy Aldred who provides an early and brief but very sophisticated anarchist reading of Nietzsche. The book's second section explores the relevance of Nietzsche to contemporary anarchism. At the core of this section are five essays-by Andrew Koch, Franco Riccio, Salvo Vaccaro, Saul Newman and Max Cafard-which from different perspectives deal with post-structuralist and post-modern readings of Nietzsche, and consider their appropriateness or otherwise for anarchists. These specific engagements with contemporary interpretations of Nietzsche are complemented by two essays focusing on specific aspects of Nietzsche's work from anarchist perspectives: John Moore provides an anarchist, post-situationist interpretation of Nietzsche's aesthetics, and Peter Lamborn Wilson considers the Islamic dimensions of Nietzsche's philosophy.
This book is the first systematic study of the genealogy, discursive structures, and political implications of the concept of ‘Greater India’, implying a Hindu colonization of Southeast Asia, and used by extension to argue for a past Indian greatness as a colonial power, reproducible in the present and future. From the 1880s to the 1960s, protagonists of the Greater India theme attempted to make a case for the importance of an expansionist Indian civilisation in civilizing Southeast Asia. The argument was extended to include Central Asia, Africa, North and South America, and other regions where Indian migrants were to be found. The advocates of this Indocentric and Hindu revivalist approach, with Hindu and Indian often taken to be synonymous, were involved in a quintessentially parochial project, despite its apparently international dimensions: to justify an Indian expansionist imagination that viewed India’s past as a colonizer and civilizer of other lands as a model for the restoration of that past greatness in the future. Zabarskaite shows that the crucial ideologues and elements used for the formation of the construct of Greater India can be traced to the svadeśī movement of the turn of the century, and that Greater India moved easily between the domains of the scholarly and the popular as it sought to establish itself as a form of nationalist self-assertion.
Art history as it is largely practiced in Asia as well as in the West is a western invention. In India, works of art-sculptures, monuments, paintings-were first viewed under colonial rule as archaeological antiquities, later as architectural relics, and by the mid-20th century as works of art within an elaborate art-historical classification. Tied to these views were narratives in which the works figured, respectively, as sources from which to recover India's history, markers of a lost, antique civilization, and symbols of a nation's unique aesthetic, reflecting the progression from colonialism to nationalism. The nationalist canon continues to dominate the image of Indian art in India and abroad, and yet its uncritical acceptance of the discipline's western orthodoxies remains unquestioned, the original motives and means of creation unexplored. The book examines the role of art and art history from both an insider and outsider point of view, always revealing how the demands of nationalism have shaped the concept and meaning of art in India. The author shows how western custodianship of Indian "antiquities" structured a historical interpretation of art; how indigenous Bengali scholarship in the late 19th and early 20th centuries attempted to bring Indian art into the nationalist sphere; how the importance of art as a representation of national culture crystallized in the period after Independence; and how cultural and religious clashes in modern India have resulted in conflicting "histories" and interpretations of Indian art. In particular, the author uses the depiction of Hindu goddesses to elicit conflicting scenarios of condemnation and celebration, both of which have at their core the threat and lure of the female form, which has been constructed and narrativized in art history. Monuments, Objects, Histories is a critical survey of the practices of archaeology, art history, and museums in nineteenth- and twentieth-century India. The essays gathered here look at the processes of the production of lost pasts in modern India: pasts that come to be imagined around a growing corpus of monuments, archaeological relics, and art objects. They map the scholarly and institutional authority that emerged around such structures and artifacts, making of them not only the chosen objects of art and archaeology but also the prime signifiers of the nation's civilization and antiquity. The close imbrication of the "colonial" and the "national" in the making of India's archaeological and art historical pasts and their combined legacy for the postcolonial present form one of the key themes of the book. Monuments, Objects, Histories offers both an insider's and an outsider's perspective on the growth of these scholarly fields and their institutional apparatus, analyzing the ways they have constituted and recast their objects of study. The book moves from a period that saw the consolidation of western expertise and custodianship of India's "antiquities," to the projection over the twentieth century of varying regional, nativist, and national claims around the country's architectural and artistic inheritance, into a current period that has pitched these objects and fields within a highly contentious politics of nationhood. Monuments, Objects, Histories traces the framing of an official national canon of Indian art through these different periods, showing how the workings of disciplines and institutions have been tied to the pervasive authority of the nation. At the same time, it addresses the radical reconfiguration in recent times of the meaning and scope of the "national," leading to the kinds of exclusions and chauvinisms that lie at the root of the current endangerment of these disciplines and the monuments and art objects they encompass.
Reveals that during the World War I era modernists participated in a wide-ranging anarchist movement that encompassed lifestyles, literature, and art, as well as politics.