"With its signal distinction between 'intuition' and 'analysis' and its exploration of the different levels of Duration, _An Introduction to Metaphysics_ has had a significant impact on subsequent twentieth century thought. The arts, from post-impressionist painting to the stream of consciousness novel, and philosophies as diverse as pragmatism, process philosophy, and existentialism bear its imprint. Consigned for a while to the margins of philosophy, Bergson’s thought is making its way back to the mainstream. The reissue of this important work comes (...) at an opportune time, and will be welcomed by teachers and scholars alike." --Peter A. Y. Gunter, University of North Texas. (shrink)

A most sensible exposition of Nietzsche's philosophy.

This classic is the benchmark against which all modern books about Nietzsche are measured. When Walter Kaufmann wrote it in the immediate aftermath of World War II, most scholars outside Germany viewed Nietzsche as part madman, part proto-Nazi, and almost wholly unphilosophical. Kaufmann rehabilitated Nietzsche nearly single-handedly, presenting his works as one of the great achievements of Western philosophy. Responding to the powerful myths and countermyths that had sprung up around Nietzsche, Kaufmann offered a patient, evenhanded account of his life (...) and works, and of the uses and abuses to which subsequent generations had put his ideas. Without ignoring or downplaying the ugliness of many of Nietzsche's proclamations, he set them in the context of his work as a whole and of the counterexamples yielded by a responsible reading of his books. More positively, he presented Nietzsche's ideas about power as one of the great accomplishments of modern philosophy, arguing that his conception of the "will to power" was not a crude apology for ruthless self-assertion but must be linked to Nietzsche's equally profound ideas about sublimation. He also presented Nietzsche as a pioneer of modern psychology and argued that a key to understanding his overall philosophy is to see it as a reaction against Christianity. Many scholars in the past half century have taken issue with some of Kaufmann's interpretations, but the book ranks as one of the most influential accounts ever written of any major Western thinker. Featuring a new foreword by Alexander Nehamas, this Princeton Classics edition of Nietzsche introduces a new generation of readers to one the most influential accounts ever written of any major Western thinker. (shrink)

Challenging the dominant scholarly consensus that Nietzsche is simply an enemy of religion, Tyler Roberts examines the place of religion in Nietzsche's thought and Nietzsche's thought as a site of religion. Roberts argues that Nietzsche's conceptualization and cultivation of an affirmative self require that we interrogate the ambiguities that mark his criticisms of asceticism and mysticism. What emerges is a vision of Nietzsche's philosophy as the enactment of a spiritual quest informed by transfigured versions of religious tropes and practices. Nietzsche (...) criticizes the ascetic hatred of the body and this-worldly life, yet engages in rigorous practices of self-denial--he sees philosophy as such a practice--and affirms the need of imposing suffering on oneself in order to enhance the spirit. He dismisses the "intoxication" of mysticism, yet links mysticism, power, and creativity, and describes his own self-transcending experiences. The tensions in his relation to religion are closely related to that between negation and affirmation in his thinking in general. In Roberts's view, Nietzsche's transfigurations of religion offer resources for a postmodern religious imagination. Though as a "master of suspicion," Nietzsche, with Freud and Marx, is an integral part of modern antireligion, he has the power to take us beyond the flat, modern distinction between the secular and the religious--a distinction that, at the end of modernity, begs to be reexamined. (shrink)

In a work of astonishing intellectual range, James Engell traces the evolution of the creative imagination, from its emergence in British empirical thought through its flowering in Romantic art and literature. The notion of a creative imagination, Engell shows, was the most powerful and important development of the eighteenth century. It grew simultaneously in literature, criticism, philosophy, psychology, religion, and science, attracting such diverse minds as Hobbes, Addison, Gerard, Goethe, Kant, and Coleridge. Indeed, rather than discussing merely the abstract notion (...) of the imagination, Engell examines the community of thinkers, especially in England and Germany, who joined to pursue and develop what became the most fascinating and suggestive concept of modern Western thought. For as the imagination became the dominant subject of literature, its meanings multiplied. Finally it came to be seen as the crown of artistic creation and as the mediator in the ongoing dialectic between matter and spirit, materialism and transcendentalism. (shrink)

"Fetterley's questions are often so crucial, her observations repeatedly so acute, that they force us to ask how we avoided them in the past." -- Women's Studies International Quarterly..". thoughtful, informed, and well written." -- Choice.

Beckett often made use of images from the visual arts and readapted them, staging them in his plays, or using them in his fiction. Anthony Uhlmann sets out to explain how an image differs from other terms, like 'metaphor' or 'representation', and, in the process, to analyse Beckett's use of images borrowed from philosophy and aesthetics. This is the first study to carefully examine Beckett's thoughts on the image in his literary works and his extensive notes to the philosopher Arnold (...) Geulincx. Uhlmann considers how images might allow one kind of interaction between philosophy and literature, and how Beckett makes use of images which are borrowed from, or drawn into dialogue with, philosophical images from Geulincx, Berkeley, Bergson, and the ancient Stoics. Uhlmann's reading of Beckett's aesthetic and philosophical interests provides a revolutionary new reading of the importance of the image in his work. (shrink)

If there is one trait common to almost all post-Holocaust theories of literature, it is arguably the notion that the literary event constitutes the affirmation of an alterity that resists all dialectical mastery and makes possible a post-metaphysical ethics. Beckett's oeuvre in particular has repeatedly been deployed as exemplary of just such an affirmation. In Beckett, Literature and the Ethics of Alterity , however, Weller argues through an analysis of the interrelated topics of translation, comedy, and gender that to read (...) Beckett in this way is to miss the strangely 'anethical' nature of his work. (shrink)