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This book investigates "cultural instruments," meaning normative
forms of analysis and practice that are central to Western culture
and in the course of their history came to be ways of understanding
and controlling different cultures. Examples are: notions of
autonomy and the division of intellectual, social, cultural, and
aesthetic practices; ideas of otherness (taking forms like
"Gemeinschaft/Gesellschaft," negritude, and afrocentrism); cultural
and aesthetic forms such as tragedy, mimesis, self, mind/body;
certain modes of history and memory; and particular forms of
discourse such as science, philosophy, and literature.
Through extensive readings in philosophical, legal, medical, and
imaginative writing, this book explores notions and experiences of
being a person from European antiquity to Descartes. It offers
quite new interpretations of what it was to be a person--to
experience who-ness--in other times and places, involving new
understandings of knowing, willing, and acting, as well as of
political and material life, the play of public and private,
passions and emotions.
This book investigates "cultural instruments," meaning normative
forms of analysis and practice that are central to Western culture
and in the course of their history came to be ways of understanding
and controlling different cultures. Examples are: notions of
autonomy and the division of intellectual, social, cultural, and
aesthetic practices; ideas of otherness (taking forms like
"Gemeinschaft/Gesellschaft," negritude, and afrocentrism); cultural
and aesthetic forms such as tragedy, mimesis, self, mind/body;
certain modes of history and memory; and particular forms of
discourse such as science, philosophy, and literature.
Timothy J. Reiss perceives a new mode of discourse emerging in early seventeenth-century Europe; he believes that this form of thought, still our own, may itself soon be giving way. In The Discourse of Modernism, Reiss sets up a theoretical model to describe the process by which one dominant class of discourse is replaced by another. He seeks to demonstrate that each new mode does not constitute a radical break from the past but in fact develops directly from its predecessor.
Recent explanations of changes in early modern European thought speak much of a move from orality and emphasis on language to print culture and a "spatial" way of thinking. Timothy J. Reiss offers a more complex explanation for the massive changes in thought that occurred. He describes how, while teaching and public debate continued to be based in the language arts, scientific and artistic areas came to depend on mathematical disciplines, including music, for new means and methods of discovery, and as a basis for wider sociocultural renewal.
Recent explanations of changes in early modern European thought speak much of a move from orality and emphasis on language to print culture and a "spatial" way of thinking. Timothy J. Reiss offers a more complex explanation for the massive changes in thought that occurred. He describes how, while teaching and public debate continued to be based in the language arts, scientific and artistic areas came to depend on mathematical disciplines, including music, for new means and methods of discovery, and as a basis for wider sociocultural renewal.
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