Drawing on a wide range of scholarship, this book offers a new and comprehensive examination of Kant's argument that aesthetic judgements are combined with a claim to subjective universality. The author gives a detailed account of the background to this claim in Kant's epistemology, logic, and metaphysics, before closely attending to the crucial sections of the Critique of the Power of Judgement. In particular, it is shown that Kant's aesthetics requires that his theory of the subject be rethought. Central to the theory of the subject that begins to emerge from the Third Critique is Kant's enigmatic notion of 'life' which is extensively explored here. This study, therefore, thoroughly examines the central features of Kant's account of aesthetic judgements, suggesting that a new and exciting theory of subjectivity begins to be outlined in Kant's aesthetics. The author argues for the placement of Kant's account of the subjective universality of aesthetic judgement at the centre of contemporary philosophical aesthetics.

This volume brings together an impressive range of established and emerging scholars to investigate the meaning of 'life' in Romantic poetry and poetics. This investigation involves sustained attention to a set of challenging questions at the heart of British Romantic poetic practice and theory. Is poetry alive for the Romantic poets? If so, how? Does 'life' always mean 'life'? In a range of essays from a variety of complementary perspectives, a number of major Romantic poets are examined in detail. The fate of Romantic conceptions of 'life' in later poetry also receives attention. Through, for examples, a revision of Blake's relationship to so-called rationalism, a renewed examination of Wordsworth's fascination with country graveyards, an exploration of Shelley's concept of survival, and a discussion of the notions of 'life' in Byron, Kierkegaard, and Mozart, this volume opens up new and exciting terrain in Romantic poetry's relation to literary theory, the history of philosophy, ethics, and aesthetics.

The range of Adorno's achievement, and the depth of his insights, is breathtaking and daunting. His work on literary, artistic, and musical forms, his devastating indictment of modern industrial society, and his profound grasp of Western culture from Homer to Hollywood have made him one of the most significant figures in twentieth-century thought.

As one of the main philosophers of the Frankfurt School of Critical Theory, Adorno 's influence on literary theory, cultural studies, and philosophical aesthetics has been immense. His wide-ranging authorship is significant also to continental philosophy, political theory, art criticism, and musicology. Key ideas discussed in this guide include:

• art and aesthetics
• fun and free time
• nature and reason
• things, thoughts and being right

This Routledge Critical Thinkers guide will equip readers with the tools required to critically interpret Adorno 's major works, whilst also introducing readers to his interpretation of classical German philosophy and his relationship to the most significant of his contemporaries.

This book examines the British soldiers on the Western Front and how they responded to the war landscape they encountered behind the lines and at the front. Using a multidisciplinary perspective, this study investigates the relationship between soldiers and the spaces and materials of the warzone, analyzing how soldiers constructed a 'sense of place' in the hostile, unpredictable environment. Drawing upon recent developments within First World War Studies and the anthropological examination of the fields of conflict, an ethnohistorical perspective of the soldiers is built which details the various ways soldiers responded to the physical and material world of the Western Front. This study is also grounded in the wider debates on how the First World War is remembered within Britain and offers an alternative perspective on the individuals who fought in the world's first global conflagration nearly a century ago.

This volume brings together an impressive range of established and emerging scholars to investigate the meaning of 'life' in Romantic poetry and poetics. This investigation involves sustained attention to a set of challenging questions at the heart of British Romantic poetic practice and theory. Is poetry alive for the Romantic poets? If so, how? Does 'life' always mean 'life'? In a range of essays from a variety of complementary perspectives, a number of major Romantic poets are examined in detail. The fate of Romantic conceptions of 'life' in later poetry also receives attention. Through, for examples, a revision of Blake's relationship to so-called rationalism, a renewed examination of Wordsworth's fascination with country graveyards, an exploration of Shelley's concept of survival, and a discussion of the notions of 'life' in Byron, Kierkegaard, and Mozart, this volume opens up new and exciting terrain in Romantic poetry's relation to literary theory, the history of philosophy, ethics, and aesthetics.

The range of Adorno's achievement, and the depth of his insights, is breathtaking and daunting. His work on literary, artistic, and musical forms, his devastating indictment of modern industrial society, and his profound grasp of Western culture from Homer to Hollywood have made him one of the most significant figures in twentieth-century thought.

As one of the main philosophers of the Frankfurt School of Critical Theory, Adorno's influence on literary theory, cultural studies, and philosophical aesthetics has been immense. His wide-ranging authorship is significant also to continental philosophy, political theory, art criticism, and musicology. Key ideas discussed in this guide include:

• art and aesthetics
• fun and free time
• nature and reason
• things, thoughts and being right

This Routledge Critical Thinkers guide will equip readers with the tools required to critically interpret Adorno's major works, whilst also introducing readers to his interpretation of classical German philosophy and his relationship to the most significant of his contemporaries.

Percy Bysshe Shelley, in the essay 'On Life' (1819), stated 'We live on, and in living we lose the apprehension of life'. Ross Wilson uses this statement as a starting point to explore Shelley's fundamental beliefs about life and the significance of poetry. Drawing on a wide range of Shelley's own writing and on philosophical thinking from Plato to the present, this book offers a timely intervention in the debate about what Romantic poets understood by 'life'. For Shelley, it demonstrates poetry is emphatically 'living melody', which stands in resolute contrast to a world in which life does not live. Wilson argues that Shelley's concern with the opposition between 'living' and 'the apprehension of life' is fundamental to his work and lies at the heart of Romantic-era thought.

The year 2007 marked the bicentenary of the Act abolishing British participation in the slave trade. Representing Enslavement and Abolition on Museums- which uniquely draws together contributions from academic commentators, museum professionals, community activists and artists who had an involvement with the bicentenary - reflects on the complexity and difficulty of museums' experiences in presenting and interpreting the histories of slavery and abolition, and places these experiences in the broader context of debates over the bicentenary's significance and the lessons to be learnt from it. The history of Britain's role in transatlantic slavery officially become part of the National Curriculum in the UK in 2009; with the bicentenary of 2007, this marks the start of increasing public engagement with what has largely been a 'hidden' history. The book aims to not only critically review and assess the impact of the bicentenary, but also to identify practical issues that public historians, consultants, museum practitioners, heritage professionals and policy makers can draw upon in developing responses, both to the increasing recognition of Britain's history of African enslavement and controversial and traumatic histories more generally.

The year 2007 marked the bicentenary of the Act abolishing British participation in the slave trade. Representing Enslavement and Abolition on Museums- which uniquely draws together contributions from academic commentators, museum professionals, community activists and artists who had an involvement with the bicentenary - reflects on the complexity and difficulty of museums' experiences in presenting and interpreting the histories of slavery and abolition, and places these experiences in the broader context of debates over the bicentenary's significance and the lessons to be learnt from it. The history of Britain 's role in transatlantic slavery officially become part of the National Curriculum in the UK in 2009; with the bicentenary of 2007, this marks the start of increasing public engagement with what has largely been a hidden history. The book aims to not only critically review and assess the impact of the bicentenary, but also to identify practical issues that public historians, consultants, museum practitioners, heritage professionals and policy makers can draw upon in developing responses, both to the increasing recognition of Britain 's history of African enslavement and controversial and traumatic histories more generally.

Percy Bysshe Shelley, in the essay 'On Life' (1819), stated 'We live on, and in living we lose the apprehension of life'. Ross Wilson uses this statement as a starting point to explore Shelley's fundamental beliefs about life and the significance of poetry. Drawing on a wide range of Shelley's own writing and on philosophical thinking from Plato to the present, this book offers a timely intervention in the debate about what Romantic poets understood by 'life'. For Shelley, it demonstrates poetry is emphatically 'living melody', which stands in resolute contrast to a world in which life does not live. Wilson argues that Shelley's concern with the opposition between 'living' and 'the apprehension of life' is fundamental to his work and lies at the heart of Romantic-era thought.

Critical Forms is an account of the generic forms in which literary criticism has been undertaken. It examines chiefly Anglophone literary criticism, with comparative discussion of French and German material, from around 1750 to the present and examines prefaces, selections and anthologies, reviews, lectures, dialogues, letters, and life-writing. Though not intended to be an exhaustive history of the period, Critical Forms begins in the mid-eighteenth century with the emergence of something like the forms (chiefly, the essay and the treatise) in which criticism is still predominantly practised. In order at least to complicate this predominance, the book documents an abiding plurality in the forms of literary critical writing in the subsequent period, leading up to the present. Ross Wilson both questions the status of the essay and treatise as the 'natural' forms of literary criticism and shows that the history of literary criticism is much more formally various and innovative than the usual ways of recounting that history as a succession of schools and movements would allow. Critical Forms harbours the hope that it will make available a wider array of forms for the practice of literary criticism today; it is this hope that licenses its own experiments in critical form.

A young archaeologist comes upon a startling discovery on a dig in the Great Zimbabwe ruins: a clearly identifiable sword of a Templar Knight. How had this artefact, from almost a thousand years before, ended up in the earth of central Africa? Going back to the time of the Crusades, a story unfolds, full of trials and perils as two groups of soldiers set out on different missions. One group, of Christian knights, is fleeing the defeats at the hands of the Muslim armies, on a quest to find The Ark of the Covenant. One of the knights has in his possession a relic sacred to Islam: the Tears of Ensiah. Hot on their heels is a band of Saracen warriors, tracking the Christian knights, determined to reclaim the precious item for Islam. In this action-packed novel, the author takes us through shipwrecks, treks over mountain ranges & deserts and bloody scenes of slaughters & massacres - and all against the backdrop of searchers for glory relentlessly pursued by men intent on revenge and recovery.

The Language of the Past analyzes the use of history in discourses within the political, media and the public sphere. It examines how particular terms, phrases and allusions first came into usage, developed and how they are employed today. To speak of something or someone as representing the 'stone age', or characterize an institution as 'byzantine', to describe a business relationship as 'feudal' or to disparage ideals or morality as 'Victorian', refers to both a perception of the past and its relationship to the present. Whilst dictionaries and etymologies define meanings and origin points of words or phrases, this study examines how history is maintained and used within society through language. Detailing the specific words and phrases associated with particular periods used to describe contemporary society, this thorough examination of language and history will be of great interest to those studying historiography, social history and linguistics.

The Language of the Past analyzes the use of history in discourses within the political, media and the public sphere. It examines how particular terms, phrases and allusions first came into usage, developed and how they are employed today. To speak of something or someone as representing the 'stone age', or characterize an institution as 'byzantine', to describe a business relationship as 'feudal' or to disparage ideals or morality as 'Victorian', refers to both a perception of the past and its relationship to the present. Whilst dictionaries and etymologies define meanings and origin points of words or phrases, this study examines how history is maintained and used within society through language. Detailing the specific words and phrases associated with particular periods used to describe contemporary society, this thorough examination of language and history will be of great interest to those studying historiography, social history and linguistics.

Detective Inspector Harker is a man on a mission: to find the serial killer of innocent young girls before yet another victim is discovered. The killer is also a man on a mission: to add to the macabre tally of 'sacrifices' to his celestial lord, Uriel. A religious maniac is loose in society and it's Harker's job to find him. The trouble is, the mad killer is clever, very clever and in this darkly disturbing thriller the reader is taken on an unforgettable journey through the twists and turns of an investigation which seems to be getting nowhere - until a vital telephone call to a taxi company leads to a violent climax. URIEL ARCHANGEL OF PURITY "The world is corruptible, flawed and discordant. We must scour it of its imperfections, returning it to its former state of glory."

"What do you do when the fabric of the Multiverse has been ripped asunder, the Sisterhood of Wicca has fixed a price on your head and it's literally raining cats and dogs?" So starts this roller-coaster of a book as our intrepid hero, Howard, finds himself transported through a time warp into another world. He meets strange creatures such as Benecia, a shape-shifting Meriodon who disdains food and survives by sucking the life force out of living creatures, including humans. And then there's Arnie, his Aardvark sidekick and fellow adventurer who just happens to talk. Constantly pursued by the Sisterhood of Wicca, a female mafioso gang intimidating and controlling the local people, Howard and his new friends must negotiate their way through all sorts of dangers as he seeks a way back to his own planet and time plane. With more twists & turns in the plot than a warehouse of Mobius Strips, the author has created a highly enjoyable romp through time & space, written in his own inimitable and deadpan style.

Betrayed by his superiors, branded an outcast, his daughter murdered. Khris Modahl is forced from his dark world and thrust into one even darker. Driven by the uncontrollable need to avenge his daughter's death he is drawn into the shadowy world of the "Bruderschaft", a secret brotherhood of Neo-Nazis, uncovering a plot that has been in the making since the early days of the Third Reich. He has become an unwitting player in a deadly game, hunted by both sides. He must track down all those responsible for his daughter's death and destroy them. Not only for the sake of his daughter; But for the very existence of the free world. "The world is governed by very different personages from what is imagined by those who are not behind the scenes" Benjamin Disraeli