Charting a genealogy of the modern idea of the self, Felix O Murchadha explores the accounts of self-identity expounded by key Early Modern philosophers, Montaigne, Descartes, Pascal, Spinoza, Hume and Kant. The question of the self as we would discuss it today only came to the forefront of philosophical concern with Modernity, beginning with an appeal to the inherited models of the self found in Stoicism, Scepticism, Augustinianism and Pelagianism, before continuing to develop as a subject of philosophical debate. Exploring this trajectory, The Formation of the Modern Self pursues a number of themes central to the Early Modern development of selfhood, including, amongst others, grace and passion. It examines on the one hand the deep-rooted dependence on the divine and the longing for happiness and salvation and, on the other hand, the distancing from the Stoic ideal of apatheia, as philosophers from Descartes to Spinoza recognised the passions as essential to human agency. Fundamental to the new question of the self was the relation of faith and reason. Uncovering commonalities and differences amongst Early Modern philosophers, O Murchadha traces how the voluntarism of Modernity led to the sceptical approach to the self in Montaigne and Hume and how this sceptical strand, in turn, culminated in Kant's rational faith. More than a history of the self in philosophy, The Formation of the Modern Self inspires a fresh look at self-identity, uncovering not only how our modern idea of selfhood developed but just how embedded the concept of self is in external considerations: from ethics, to reason, to religion.

This volume is devoted to the natural philosopher Bernardino Telesio (1509-1588) and his place in the scientific debates of the Renaissance. Telesio's thought is emblematic of Renaissance culture in its aspiration towards universality; the volume deals with the roots and reception of his vistas from an interdisciplinary perspective ranging from the history of philosophy to that of physics, astronomy, meteorology, medicine, and psychology. The editor, Pietro Daniel Omodeo and leading specialists of intellectual history introduce Telesio's conceptions to English-speaking historians of science through a series of studies, which aim to foster our understanding of a crucial early modern author, his world, achievement, networks, and influence. Contributors are Roberto Bondi, Arianna Borrelli, Rodolfo Garau, Giulia Giannini, Miguel Angel Granada, Hiro Hirai, Martin Mulsow, Elio Nenci, Pietro Daniel Omodeo, Nuccio Ordine, Alessandro Ottaviani, Jurgen Renn, Riccarda Suitner, and Oreste Trabucco.

Sleep is quite a popular activity, indeed most humans spend around a third of their lives asleep. However, cultural, political, or aesthetic thought tends to remain concerned with the interpretation and actions of those who are awake. How to Sleep argues instead that sleep is a complex vital phenomena with a dynamic aesthetic and biological consistency. Arguing through examples drawn from contemporary, modern and renaissance art; from literature; film and computational media, and bringing these into relation with the history and findings of sleep science, this book argues for a new interplay between biology and culture. Meditations on sex, exhaustion, drugs, hormones and scientific instruments all play their part in this wide-ranging exposition of sleep as an ecology of interacting processes. How to Sleep builds on the interlocking of theory, experience and experiment so that the text itself is a lively articulation of bodies, organs and the aesthetic systems that interact with them. This book won't enhance your sleeping skills, but will give you something surprising to think about whilst being ostensibly awake.

In a "return" to Edmund Husserl and Sigmund Freud, Intimacy and the Anxieties of Cinematic Flesh explores how we can engage these foundational thinkers of phenomenology and psychoanalysis in an original approach to film. The idea of the intimate spectator caught up in anxiety is developed to investigate a range of topics central to these critical approaches and cinema, including: flesh as a disruptive state formed in the relationships of intimacy and anxiety; time and the formation of cinema's enduring objects; space and things; the sensual, the "real" and the unconscious; wildness, disruption, and resistance; and the nightmare, reading "phantasy" across the critical fields. Along with Husserl and Freud, other key thinkers discussed include Edith Stein, Roman Ingarden, Maurice Merleau-Ponty, Mikel Dufrenne in phenomenology; Melanie Klein, Ernest Jones, Julia Kristeva, and Rosine Lefort in psychoanalysis. Framing these issues and critical approaches is the question: how might Husserlian phenomenology and Freudian/Lacanian psychoanalysis, so often seen as contradistinctive, be explored through their potential commonalities rather than differences? In addressing such a question, this book postulates a new approach to film through this phenomenological/psychoanalytic reconceptualization. A wide range of films are examined not simply as exemplars, but to test the idea that cinema itself can be a version of critical thinking.

The volume explores the hitherto uncharted late medieval religious landscape of Northern Germany, from 13th-century Helfta to the 15th-century Luneburg convents. The mystical and devotional writing of Northern Germany is contextualised through chapters on the Netherlands, Scandinavia and East Prussia. The seminal influence of the liturgy on these texts and their transmission is revealed in the creative interplay of Latin and Low German. Through the individual chapters and their appendices, which also contain translations into English, the reader can access a wealth of texts produced by communities of religious and lay women who write learnedly in Latin and fervently in Low German. Together, the chapters and appendices reveal a fascinating regional "mystical culture" which also reverberated across Northern Europe. Contributors include: Jurgen Barsch, Anne Bollmann, Veerle Fraeters, Ulrike Hascher-Burger, Ernst Hellgardt, Tanja Mattern, Balazs Nemes, Sara S. Poor, Eva Schlotheuber, Almut Suerbaum, and Geert Warnar.

Maximus the Confessor (c.580-662) has become one of the most discussed figures in contemporary patristic studies. This is partly due to the relatively recent discovery and critical edition of his works in various genres, including On the Ascetic Life, Four Centuries on Charity, Two Centuries on Theology and the Incarnation, On the 'Our Father', two separate Books of Difficulties, addressed to John and to Thomas, Questions and Doubts, Questions to Thalassius, Mystagogy and the Short Theological and Polemical Works. The impact of these works reached far beyond the Greek East, with his involvement in the western resistance to imperial heresy, notably at the Lateran Synod in 649. Together with Pope Martin I (649-53 CE), Maximus the Confessor and his circle were the most vocal opponents of Constantinople's introduction of the doctrine of monothelitism. This dispute over the number of wills in Christ became a contest between the imperial government and church of Constantinople on the one hand, and the bishop of Rome in concert with eastern monks such as Maximus, John Moschus, and Sophronius, on the other, over the right to define orthodoxy. An understanding of the difficult relations between church and state in this troubled period at the close of Late Antiquity is necessary for a full appreciation of Maximus' contribution to this controversy. The editors of this volume aim to provide the political and historical background to Maximus' activities, as well as a summary of his achievements in the spheres of theology and philosophy, especially neo-Platonism and Aristotelianism.

Greek Heroes in and out of Hades is a study on heroism and mortality from Homer to Plato. In a collection of thirty enjoyable essays, Stamatia Dova combines intertextual research and thought-provoking analysis to shed new light on concepts of the hero in the Iliad and the Odyssey, Bacchylides 5, Plato's Symposium, and Euripides' Alcestis. Through systematic readings of a wide range of seemingly unrelated texts, the author offers a cohesive picture of heroic character in a variety of literary genres. Her characterization of Achilles, Odysseus, and Heracles is artfully supported by a comprehensive overview of the theme of descent to the underworld in Homer, Bacchylides, and Euripides. Aimed at the specialist as well as the general reader, Greek Heroes in and out of Hades brings innovative Classical scholarship and insightful literary criticism to a wide audience.

This is a bilingual edition of the selected peer-reviewed papers that were submitted for the International Symposium on Jesuit Studies on the thought of the Jesuit Francisco Suarez (1548-1617). The symposium was co-organized in Seville in 2018 by the Departamento de Humanidades y Filosofia at Universidad Loyola Andalucia and the Institute for Advanced Jesuit Studies at Boston College.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1984.

The first collection of its kind, The Continental Philosophy of Film Reader is the essential anthology of writings by continental philosophers on cinema, representing the last century of film-making and thinking about film, as well as all of the major schools of Continental thought: phenomenology and existentialism, Marxism and critical theory, semiotics and hermeneutics, psychoanalysis, and postmodernism. Included here are not only the classic texts in continental philosophy of film, from Benjamin's "The Work of Art in the Age of Mechanical Reproduction" to extracts of Deleuze's Cinema and Barthes's Mythologies, but also the earliest works of Continental philosophy of film, from thinkers such as Georg Lukacs, and little-read gems by philosophical giants such as Sartre and Beauvoir. The book demonstrates both the philosophical significance of these thinkers' ideas about film, as well their influence on filmmakers in Europe and across the globe. In addition, however, this wide-ranging collection also teaches us how important film is to the last century of European philosophical thought. Almost every major continental European thinker of the twentieth and twenty-first centuries has had something to say-sometimes, quite a lot to say-about cinema: as an art form, as a social or political phenomenon, as a linguistic device and conveyor of information, as a projection of our fears and desires, as a site for oppression and resistance, or as a model on the basis of which some of us, at least, learn how to live. Purpose built for classroom use, with pedagogical features introducing and contextualizing the extracts, this reader is an indispensable tool for students and researchers in philosophy of film, film studies and the history of cinema.

Michel Foucault continues to be regarded as one of the most essential thinkers of the twentieth century. A brilliantly evocative writer and conceptual creator, his influence is clearly discernible today across nearly every discipline-philosophy and history, certainly, as well as literary and critical theory, religious and social studies, and the arts. This volume exploits Foucault's insistent blurring of the self-imposed limits formed by the disciplines, with each author in this volume discovering in Foucault's work a model useful for challenging not only these divisions but developing a more fundamental interrogation of modernism. Foucault himself saw the calling into question of modernism to be the permanent task of his life's work, thereby opening a path for rethinking the social. Understanding Foucault, Understanding Modernism shows, on the one hand, that literature and the arts play a fundamental structural role in Foucault's works, while, on the other hand, it shifts to the foreground what it presumes to be motivating Foucault: the interrogation of the problem of modernism. To that end, even his most explicitly historical or strictly epistemological and methodological enquiries directly engage the problem of modernism through the works of writers and artists from de Sade, Mallarme, Baudelaire to Artaud, Manet, Borges, Roussel, and Bataille. This volume, therefore, adopts a transdisciplinary approach, as a way to establish connections between Foucault's thought and the aesthetic problems that emerge out of those specific literary and artistic works, methods, and styles designated "modern." The aim of this volume is to provide a resource for students and scholars not only in the fields of literature and philosophy, but as well those interested in the intersections of art and intellectual history, religious studies, and critical theory.