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The first translation into English of 'Le Système colonial dévoilé', the first systematic critique of colonialism ever written from the perspective of a colonized subject.
Focusing on the influential life and works of the Haitian political writer and statesman, Baron de Vastey (1781-1820), in this book Marlene L. Daut examines the legacy of Vastey’s extensive writings as a form of what she calls black Atlantic humanism, a discourse devoted to attacking the enlightenment foundations of colonialism. Daut argues that Vastey, the most important secretary of Haiti’s King Henry Christophe, was a pioneer in a tradition of deconstructing colonial racism and colonial slavery that is much more closely associated with twentieth-century writers like W.E.B. Du Bois, Frantz Fanon, and Aimé Césaire. By expertly forging exciting new historical and theoretical connections among Vastey and these later twentieth-century writers, as well as eighteenth- and nineteenth-century black Atlantic authors, such as Phillis Wheatley, Olaudah Equiano, William Wells Brown, and Harriet Jacobs, Daut proves that any understanding of the genesis of Afro-diasporic thought must include Haiti’s Baron de Vastey.
Ortega traces the course of Western civilization backward, searching out what makes a civilization rise or fall and offering a way of looking at our own time. Based on a series of lectures on A. J. Toynbee's A Study of History.
''A clear and comprehensive introduction to contemporary philosophy of science.'' -- American Scientist ''The best account of scientific theory now available, one that surely commends itself to every philosopher of science with the slightest interest in metaphysics.'' -- Review of Mathematics ''It should certainly be of interest to those teaching graduate courses in philosophy of science and to scientists wishing to gain a further appreciation of the approach used by philosophers of science.'' -- Science Activities
A Comparative History of Literatures in the Iberian Peninsula is the second comparative history of a new subseries with a regional focus, published by the Coordinating Committee of the International Comparative Literature Association. As its predecessor for East-Central Europe, this two-volume history distances itself from traditional histories built around periods and movements, and explores, from a comparative viewpoint, a space considered to be a powerful symbol of inter-literary relations. Both the geographical pertinence and its symbolic condition are obviously discussed, when not even contested. Written by an international team of researchers who are specialists in the field, this history is the first attempt at applying a comparative approach to the plurilingual and multicultural literatures in the Iberian Peninsula. The aim of comprehensiveness is abandoned in favor of a diverse and extensive array of key issues for a comparative agenda. A Comparative History of Literatures in the Iberian Peninsula undermines the primacy claimed for national and linguistic boundaries, and provides a geo-cultural account of literary inter-systems which cannot otherwise be explained.
Magic enjoyed a vigorous revival in sixteenth-century Europe, attaining a prestige lost for over a millennium and becoming, for some, a kind of universal philosophy. Renaissance music also suggested a form of universal knowledge through renewed interest in two ancient themes: the Pythagorean and Platonic "harmony of the celestial spheres" and the legendary effects of the music of bards like Orpheus, Arion, and David. In this climate, Renaissance philosophers drew many new and provocative connections between music and the occult sciences. In Music in Renaissance Magic, Gary Tomlinson describes some of these connections and offers a fresh view of the development of early modern thought in Italy. Raising issues essential to postmodern historiography—issues of cultural distance and our relationship to the others who inhabit our constructions of the past —Tomlinson provides a rich store of ideas for students of early modern culture, for musicologists, and for historians of philosophy, science, and religion. "A scholarly step toward a goal that many composers have aimed for: to rescue the idea of New Age Music—that music can promote spiritual well-being—from the New Ageists who have reduced it to a level of sonic wallpaper."—Kyle Gann, Village Voice "An exemplary piece of musical and intellectual history, of interest to all students of the Renaissance as well as musicologists. . . . The author deserves congratulations for introducing this new approach to the study of Renaissance music."—Peter Burke, NOTES "Gary Tomlinson's Music in Renaissance Magic: Toward a Historiography of Others examines the 'otherness' of magical cosmology. . . . [A] passionate, eloquently melancholy, and important book."—Anne Lake Prescott, Studies in English Literature
START YOUR OWN RELIGION embodies the Timothy Leary's core attraction—expansive religious (personal) freedom. Become the highest version of yourself! The purpose of life is religious discovery. return to the temple of God—your ow body. Get of out your mind and get high. Religious living is conscious here-and-now aliveness. He urges readers to drop out, turn on tune in. Drop out and detach from external social drams. Turn on with a sacrament that returns you on to your body. Tune in and be reborn. Leary's message thrilled the youth of the 1960s and it is still appealing today.
In this wide-ranging work, now available in paperback, Habermas presents his views on the nature of the social sciences and their distinctive methodology and concerns. He examines, among other things, the traditional division between the natural sciences and the social sciences; the characteristics of social action and the implications of theories of language for social enquiry; and the nature, tasks and limitations of hermeneutics. Habermas' analysis of these and other themes is, as always, rigorous, perceptive and constructive. This brilliant study succeeds in highlighting the distinctive characteristics of the social sciences and in outlining the nature of, and prospects for, critical theory today.