The concept of secular millennialism summarizes a crucial point made by Hannah Arendt in The Origins of Totalitarianism: that twentieth-century totalitarian movements, in Nazi Germany and in the Soviet Union under Stalin, are not nationalistic but essentially millennialist, focused on the achievement of a universal world order. The question of whether totalitarian thinking can be located in a secular millennialist tradition is brought to the forefront in Aesthetics as Secular Millennialism: Its Trail from Baumgarten and Kant to Walt Disney and Hitler by Benjamin Bennett. Bennett contends that the new philosophical science of aesthetics-beginning in the eighteenth century with Baumgarten, Kant, and Schiller-is the source of such a tradition. Bennett uses the term "aesthetics" to designate a tradition which begins under that name but, in the course of the nineteenth century, concerns itself less directly with questions of beauty or art while not losing its secular millennialist tendency. He argues that modern philosophical hermeneutics, in Dilthey, Heidegger, and Gadamer, belongs to the aesthetic tradition. Bennett explores the realistic novel as the main vehicle by which aesthetic tradition maintains itself in the nineteenth century and attracts a large popular following. The argument culminates in a discussion of relations among aesthetics, totalitarian propaganda, and the "totalitarian imagination" with its dream of "human omnipotence" (Arendt). Aesthetics as Secular Millennialism also maintains an attentiveness to instances of resistance against the aesthetic impetus in history-hence ultimately against totalitarianism.

The concept of secular millennialism summarizes a crucial point made by Hannah Arendt in The Origins of Totalitarianism: that twentieth-century totalitarian movements, in Nazi Germany and in the Soviet Union under Stalin, are not nationalistic but essentially millennialist, focused on the achievement of a universal world order. The question of whether totalitarian thinking can be located in a secular millennialist tradition is brought to the forefront in Aesthetics as Secular Millennialism: Its Trail from Baumgarten and Kant to Walt Disney and Hitler by Benjamin Bennett. Bennett contends that the new philosophical science of aesthetics-beginning in the eighteenth century with Baumgarten, Kant, and Schiller-is the source of such a tradition. Bennett uses the term "aesthetics" to designate a tradition which begins under that name but, in the course of the nineteenth century, concerns itself less directly with questions of beauty or art while not losing its secular millennialist tendency. He argues that modern philosophical hermeneutics, in Dilthey, Heidegger, and Gadamer, belongs to the aesthetic tradition. Bennett explores the realistic novel as the main vehicle by which aesthetic tradition maintains itself in the nineteenth century and attracts a large popular following. The argument culminates in a discussion of relations among aesthetics, totalitarian propaganda, and the "totalitarian imagination" with its dream of "human omnipotence" (Arendt). Aesthetics as Secular Millennialism also maintains an attentiveness to instances of resistance against the aesthetic impetus in history-hence ultimately against totalitarianism.

Is there any such thing as a single ethical system to which all human beings could conceivably subscribe? The short answer is no; and most people, being tolerant, would probably agree with this answer. Yet most people, precisely in being tolerant, also subscribe to an idea of "human rights" which presupposes just such a universal ethics. This basic question of ethics is similarly treacherous when approached on a higher technical level. Specialists have long recognized that Kant's categorical imperative is neither theoretically nor practically tenable. But efforts to revive and repair the Kantian project-including especially the monumental work of Jurgen Habermas-have all themselves been theoretically questionable, while developing a complexity that makes them impractical. Must we then simply do without ethics in the sense of a universal ethical method? By way of a close study of literary and philosophical texts, from Freud to Machiavelli, Benjamin Bennett shows why the failure of a universal or propositional ethics is indeed unavoidable. He uncovers a modern non-propositional ethics that cannot be grasped in a single theoretical move but can only be approached as a collection of instances of a modern ethical "we", three key examples of which Bennett explores in this book: - The "we" of irony, whose speakers share a strictly preter-verbal knowledge which is concealed in their actual utterances - The insistent exclusive "we" of a group that has neither its own physical locality nor even a clear intellectual identity, comparable to the "we" of Jews in the diaspora - The "we" of feminism, a separate "we" from that embracing people who happen to have been born women.

The principal purpose of the book is to conduct a radical criticism of the concept of "reading," and especially of the concept of "the" reader, as these concepts are commonly used in literary criticism. Starting with the point that "reading," in the context of literary studies, does not name a single identifiable type of experience (or class of experiences), Bennett argues that the idea of such an experience has been introduced into critical discourse by way of theory: the theory of reading or of reader-response, in other words, takes as its object a supposed experience that it itself begins by constructing. In response to the obvious question of where that theory comes from, if not from a direct encounter with experience, Bennett then sketches in broad terms the historical provenance of "the" reader, in an argument that includes discussions of Dante, Boccaccio, Cervantes, Marlowe and German idealist philosophy. And in two concluding chapters on modern German novellas, he attempts to show a fundamental disjunction between actual literary practice and the theory of reading. Most major European literary works since the eighteenth century, he suggests, are written in direct opposition to at least one of the central concepts by which criticism has sought to lay hold of them.

How exactly does one explain Jesus? That is the central question of this book. But the task of explaining Jesus is complicated. For many nonbelievers, skeptics, or practitioners of non- Jesus-based religions or spiritualities, it can be very strange to refer to a particular man who lived in the first century CE as someone who is still living. Even for some believers, this idea can be a difficult thing to understand-even given the teachings of their faith. Thus, whether believer or nonbeliever or somewhere in-between, for the intellectually curious, there is need for an explanation. Explaining Jesus explores the possibilities of a secular, interdisciplinary, science-based explanation for the phenomenon of Jesus.

This book focuses on Hugo von Hofmannsthal's intense, lifelong concentration upon a single cohesive set of poetic, philosophical and ethical concerns, a quality of his work which has been neglected in the bulk of existing scholarship. Professor Bennett examines Hofmannsthal's work in the context of literary theory and the history of philosophy, referring especially to Nietzsche, German Idealism and the poetics of German Classicism. He identifies three principal areas of concern to Hofmannsthal: the theory of genre, the question of the role of literature in society and the search for a fruitful response to the problem of the historical development of culture. The argument proceeds by way of detailed interpretation of texts, including Der Tor und der Tod, the Chandos letter, Ariadne auf Naxos, Der Schwierige, Das Salzburger Grosse Welttheater and Der Turm.

Is there any such thing as a single ethical system to which all human beings could conceivably subscribe? The short answer is no; and most people, being tolerant, would probably agree with this answer. Yet most people, precisely in being tolerant, also subscribe to an idea of "human rights" which presupposes just such a universal ethics. This basic question of ethics is similarly treacherous when approached on a higher technical level. Specialists have long recognized that Kant's categorical imperative is neither theoretically nor practically tenable. But efforts to revive and repair the Kantian project-including especially the monumental work of Jurgen Habermas-have all themselves been theoretically questionable, while developing a complexity that makes them impractical. Must we then simply do without ethics in the sense of a universal ethical method? By way of a close study of literary and philosophical texts, from Freud to Machiavelli, Benjamin Bennett shows why the failure of a universal or propositional ethics is indeed unavoidable. He uncovers a modern non-propositional ethics that cannot be grasped in a single theoretical move but can only be approached as a collection of instances of a modern ethical "we", three key examples of which Bennett explores in this book: - The "we" of irony, whose speakers share a strictly preter-verbal knowledge which is concealed in their actual utterances - The insistent exclusive "we" of a group that has neither its own physical locality nor even a clear intellectual identity, comparable to the "we" of Jews in the diaspora - The "we" of feminism, a separate "we" from that embracing people who happen to have been born women.

The Making of the Modern Law: Legal Treatises, 1800-1926 includes over 20,000 analytical, theoretical and practical works on American and British Law. It includes the writings of major legal theorists, including Sir Edward Coke, Sir William Blackstone, James Fitzjames Stephen, Frederic William Maitland, John Marshall, Joseph Story, Oliver Wendell Holmes, Jr. and Roscoe Pound, among others. Legal Treatises includes casebooks, local practice manuals, form books, works for lay readers, pamphlets, letters, speeches and other works of the most influential writers of their time. It is of great value to researchers of domestic and international law, government and politics, legal history, business and economics, criminology and much more.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++Harvard Law School Libraryocm24837223Filmed from a photocopy of the original.Saratoga Springs N.Y.]: O.M. Davison, 1820. 24 leaves; 21 cm.

All Theater Is Revolutionary Theater is the first book to consider why, in the Western tradition (and only in the Western tradition), theatrical drama is regarded as its own literary or poetic type, when the criteria needed to differentiate drama from other forms of writing do not resemble the criteria by which types of prose or verse are ordinarily distinguished. Through close readings of such playwrights as Beckett, Brecht, Buchner, Eliot, Shaw, Wedekind, and Robert Wilson, Benjamin Bennett looks at the relationship between literature and drama, identifying typical problems in the development of dramatic literature and exploring how the uncomfortable association with theatrical performance affects the operation of drama in literary history.Bennett's historical investigations into theoretical works ranging from Aristotle to Artaud, Brecht, and Diderot suggest that the attempt to include drama in the system of Western literature causes certain specific incongruities that, in his view, have the salutary effect of preserving the otherwise endangered possibility of a truly liberal, progressive, or revolutionary literature."

This book focuses on Hugo von Hofmannsthal's intense, lifelong concentration upon a single cohesive set of poetic, philosophical and ethical concerns, a quality of his work which has been neglected in the bulk of existing scholarship. Professor Bennett examines Hofmannsthal's work in the context of literary theory and the history of philosophy, referring especially to Nietzsche, German Idealism and the poetics of German Classicism. He identifies three principal areas of concern to Hofmannsthal: the theory of genre, the question of the role of literature in society and the search for a fruitful response to the problem of the historical development of culture. The argument proceeds by way of detailed interpretation of texts, including Der Tor und der Tod, the Chandos letter, Ariadne auf Naxos, Der Schwierige, Das Salzburger Grosse Welttheater and Der Turm.