In Canto XVIII of Paradiso, Dante sees thirty-five letters of Scripture - LOVE JUSTICE, YOU WHO RULE THE EARTH - 'painted' one after the other in the sky. It is an epiphany that encapsulates the Paradiso, staging its ultimate goal - the divine vision. This book offers a fresh, intensive reading of this extraordinary passage at the heart of the third canticle of the Divine Comedy. While adapting in novel ways the methods of the traditional lectura Dantis, William Franke meditates independently on the philosophical, theological, political, ethical, and aesthetic ideas that Dante's text so provocatively projects into a multiplicity of disciplinary contexts. This book demands that we question not only what Dante may have meant by his representations, but also what they mean for us today in the broad horizon of our intellectual traditions and cultural heritage.
Israel is a divine name. The Name Israel is a scholarly, niche project that provides its readers with an informative, meaningful, and spiritually uplifting reading experience. The purpose of The Name Israel is to investigate the name employing four levels of study (PaRDeS): peshat, remez, derash, and sod. Each level is deeper and more profound than its predecessor. This text is divided into eight chapters. Chapters 1 and 2 explore the historical name Israel and pardes (four methods of Bible interpretation). The book also presents details about the shapes and sizes of the letters, permutations of Israel, anagrams, and gematria (numerology). Additionally, it includes a discussion of the Four World system, the ten sefirot, and an overview of parshat Vayishlach (Gen 32:4–33 and Gen 35:10). Throughout, The Name Israel analyzes the first word of the Torah (Bereshit) and the creation process. Readers will be fascinated as it also delves into facts about the numbers 2, 701, 37, 73, and 541; “The end of the action was at first in thought”; unique features (and hints) of the letters forming the name Israel; and concluding remarks. Come and learn!
"German--and particularly French--sources of the revolution that has occurred in literary theory during the past thirty years have long been recognized. The Russian contribution to these events has been hinted at previously, but Cassedy documents in detail the extraordinary work of Potebnya, Veselovskij, and other figures virtually unknown in the West. . . . An important contribution to intellectual history and literary theory."--Michael Holquist, author of Dostoevsky and the Novel "An astonishing number of complex movements and ideas--from Humboldt through Russian and French Symbolists to Heidegger, Husserl, Roman Jakobson and the deconstructors, from symbology to logology and iconology--begin to fit together in this wide-ranging and provocative book. . . . Cassedy's book will outrage some readers, delight others, and enlighten all."--Caryl Emerson, author of Boris Godunov: Transpositions of a Russian Theme
In Jacques Derrida: Opening Lines, Marian Hobson gives us a thorough and elegant analysis of this controversial and seminal contemporary thinker. Looking closely at the language and the construction of some of Derrida's philosophy, Hobson suggests the way he writes, indeed the fact he writes in another language, affects how he can be understood by English speakers. This superb study on the question of language will make illuminating reading for anyone studying or engaged with Derrida's philosophy.
Beginning with a sustained critique of the so-called 'end of philosophy', Badiou goes on to propose a new definition of philosophy, one that is tested with respect to both its origin, in Plato, and its contemporary state. The essays that follow are ordered according to what Badiou sees as the four great conditions of philosophy: philosophy and poetry, philosophy and mathematics, philosophy and politics, and philosophy and love. Conditions provides an illuminating reworking of all the major theories in Being and Event. In so doing, Badiou not only develops the complexity of the concepts central to Being and Event but also adds new ones to his already formidable arsenal. The essays in Conditions reveal the extraordinary and systematic nature of Badiou's philosophical enterprise.
Poetry has long been regarded as the least accessible of literary genres. But how much does the obscurity that confounds readers of a poem differ from, say, the slang that seduces listeners of hip-hop? Infidel Poetics examines not only the shared incomprensibilities of poetry and slang, but poetry's genetic relation to the spectacle of underground culture. Charting connections between vernacular poetry, lyric obscurity, and types of social relations—networks of darkened streets in preindustrial cities, the historical underworld of taverns and clubs, the subcultures of the avant-garde—Daniel Tiffany shows that obscurity in poetry has functioned for hundreds of years as a medium of alternative societies. For example, he discovers in the submerged tradition of canting poetry and its eccentric genres—thieves’ carols, drinking songs, beggars’ chants—a genealogy of modern nightlife, but also a visible underworld of social and verbal substance, a demimonde for sale. Ranging from Anglo-Saxon riddles to Emily Dickinson, from the icy logos of Parmenides to the monadology of Leibniz, from Mother Goose to Mallarmé, Infidel Poetics offers an exhilarating account of the subversive power of obscurity in word, substance, and deed.