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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
In Dante and the Sense of Transgression, William Franke combines
literary-critical analysis with philosophical and theological
reflection to cast new light on Dante's poetic vision. Conversely,
Dante's medieval masterpiece becomes our guide to rethinking some
of the most pressing issues of contemporary theory. Beyond
suggestive archetypes like Adam and Ulysses that hint at an
obsession with transgression beneath Dante's overt suppression of
it, there is another and a prior sense in which transgression
emerges as Dante's essential and ultimate gesture. His work as a
poet culminates in the Paradiso in a transcendence of language
towards a purely ineffable, mystical experience beyond verbal
expression. Yet Dante conveys this experience, nevertheless, in and
through language and specifically through the transgression of
language, violating its normally representational and referential
functions. Paradiso's dramatic sky-scapes and unparalleled textual
performances stage a deconstruction of the sign that is analyzed
philosophically in the light of Blanchot, Levinas, Derrida,
Barthes, and Bataille, as transgressing and transfiguring the very
sense of sense.
Apophasis has become a major topic in the humanities, particularly
in philosophy, religion, and literature. This two-volume anthology
gathers together most of the important historical works on
apophaticism and illustrates the diverse trajectories of apophatic
discourse in ancient, modern, and postmodern times. William Franke
provides a major introductory essay on apophaticism at the
beginning of each volume, and shorter introductions to each
anthology selection. Franke is an excellent guide. In the
introductions to both volumes, he traces ways in which the
selections are linked by common concerns and conceptions,
rhetorical strategies, and spiritual or characteristic affinities.
The selections in both volumes explore, in one way or another, a
fundamental challenge: how can human beings talk about a God who
defies language, and more generally, how can they use their limited
language to express the unlimited, open nature of their existence
and relations to others? In the first volume, "Classic
Formulations", Franke offers excerpts from Plato, Plotinus,
Damascius, the Bible, Gregory of Nyssa, Augustine,
Pseudo-Dionysius, Maimonides, Rumi, Thomas Aquinas, Marguerite
Porete, Dante, Teresa of Avila, and John of the Cross, among
others. The second volume, "Modern and Contemporary
Transformations" contains texts by Holderlin, Schelling,
Kierkegaard, Dickinson, Rilke, Kafka, Rosenzweig, Wittgenstein,
Heidegger, Weil, Schoenberg, Adorno, Beckett, Celan, Levinas,
Derrida, Marion, and more. Both volumes of "On What Cannot be Said"
underscore the significance of the apophatic tradition. Scholars
and students in all branches of the humanities will find these
volumes instructive and useful.
This book comprises a searching philosophical meditation on the
evolution of the humanities in recent decades, taking Dante studies
as an exemplary specimen. The contemporary currents of theory have
decisively impacted this field, but Dante also has a strong
relationship with theology. The idea that theology, teleology, and
logocentric rationalities are simply overcome and swept away by new
theoretical approaches proves much more complex as the theory
revolution is exposed in its crypto-theological motives and
origins. The revolutionary agendas and methodologies of theoretical
currents have ushered in all manner of minorities and postcolonial
and gender studies. But the exciting adventure they inaugurate
shows up in quite a surprising light when brought to focus through
the scholarly discipline of Dante studies as a terrain of dispute
between traditional philology and postmodern theory. On this
terrain, negative theology can play a peculiarly destabilizing, but
also a conciliatory, role: it is equally critical of all languages
for a theological transcendence to which it nevertheless remains
infinitely open.
Self-reflection, as the hallmark of the modern age, originates more
profoundly with Dante than with Descartes. This book rewrites
modern intellectual history, taking Dante's lyrical language in
Paradiso as enacting a Trinitarian self-reflexivity that gives a
theological spin to the birth of the modern subject already with
the Troubadours. The ever more intense self-reflexivity that has
led to our contemporary secular world and its technological
apocalypse can lead also to the poetic vision of other worlds such
as those experienced by Dante. Facing the same nominalist crisis as
Duns Scotus, his exact contemporary and the precursor of scientific
method, Dante's thought and work indicate an alternative modernity
along the path not taken. This other way shows up in Nicholas of
Cusa's conjectural science and in Giambattista Vico's new science
of imagination as alternatives to the exclusive reign of positive
empirical science. In continuity with Dante's vision, they
contribute to a reappropriation of self-reflection for the
humanities.
Modelling knowledge as revelation and theology as poetry, this
powerful new reading of the Vita nuova not only challenges Dante
scholars to reconsider the book's speculative emphases but also
offers the general reader an accessible yet penetrating exploration
of some of the Western tradition's most far-reaching ideas
surrounding love and knowledge. Dante's 'little book', included in
full here in an original parallel translation, captures in its
first emergence the same revolutionary ferment that would later
become manifest both in the larger oeuvre of this great European
writer and in the literature of the entire Western canon. William
Franke demonstrates how Dante's youthful poetic autobiography
disrupts sectarian thinking and reconciles the seeming contraries
of divine revelation and human invention, while also providing the
means for understanding religious revelation in the Bible.
Ultimately, this revolutionary unification of Scripture and poetry
shows the intimate working of love at the source of inspired
knowing.
This book presents detailed discussions from leading intercultural
philosophers, arguing for and against the priority of immanence in
Chinese thought and the validity of Western interpretations that
attempt to import conceptions of transcendence. The authors pay
close attention to contemporary debates generated from critical
analysis of transcendence and immanence, including discussions of
apophasis, critical theory, post-secular conceptions of society,
phenomenological approaches to transcendence, possible-world
models, and questions of practice and application. This book aims
to explore alternative conceptions of transcendence that either
call the tradition in the West into question, or discover from
within Western metaphysics a thoroughly dialectical way of thinking
about immanence and transcendence.
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.
Self-reflection, as the hallmark of the modern age, originates more
profoundly with Dante than with Descartes. This book rewrites
modern intellectual history, taking Dante's lyrical language in
Paradiso as enacting a Trinitarian self-reflexivity that gives a
theological spin to the birth of the modern subject already with
the Troubadours. The ever more intense self-reflexivity that has
led to our contemporary secular world and its technological
apocalypse can lead also to the poetic vision of other worlds such
as those experienced by Dante. Facing the same nominalist crisis as
Duns Scotus, his exact contemporary and the precursor of scientific
method, Dante's thought and work indicate an alternative modernity
along the path not taken. This other way shows up in Nicholas of
Cusa's conjectural science and in Giambattista Vico's new science
of imagination as alternatives to the exclusive reign of positive
empirical science. In continuity with Dante's vision, they
contribute to a reappropriation of self-reflection for the
humanities.
Apophasis has become a major topic in the humanities, particularly
in philosophy, religion, and literature. This monumental two-volume
anthology gathers together most of the important historical works
on apophaticism and illustrates the diverse trajectories of
apophatic discourse in ancient, modern, and postmodern times.
William Franke provides a major introductory essay on apophaticism
at the beginning of each volume, and shorter introductions to each
anthology selection. The second volume, Modern and Contemporary
Transformations, contains texts by Hoelderlin, Schelling,
Kierkegaard, Dickinson, Rilke, Kafka, Rosenzweig, Wittgenstein,
Heidegger, Weil, Schoenberg, Adorno, Beckett, Celan, Levinas,
Derrida, Marion, and more.
Like other Americans, African Americans partake of the general
food offerings available in mainstream supermarket chains across
the country. Food culture, however, may depend on where they live
and their degree of connection to traditions passed down through
generations since the time of slavery. Many African Americans
celebrate a hybrid identity that incorporates African and New World
foodways. The state of African American food culture today is
illuminated in depth here for the first time, in the all-important
context of understanding the West African origins of most African
Americans of today.
Like other Americans, African Americans partake of the general
food offerings available in mainstream supermarket chains across
the country. Food culture, however, may depend on where they live
and their degree of connection to traditions passed down through
generations since the time of slavery. Many African Americans
celebrate a hybrid identity that incorporates African and New World
foodways. The state of African American food culture today is
illuminated in depth here for the first time, in the all-important
context of understanding the West African origins of most African
Americans of today.
A historical overview discusses the beginnings of this hybrid
food culture when Africans were forcibly removed from their
homelands and brought to the United States. Chapter 2 on Major
Foods and Ingredients details the particular favorites of what is
considered classic African American food. In Chapter 3, Cooking,
the African American family of today is shown to be like most other
families with busy lives, preparing and eating quick meals during
the week and more leisurely meals on the weekend. Special insight
is also given on African American chefs. The Typical Meals chapter
reflects a largely mainstream diet, with regional and traditional
options. Chapter 6, Eating Out, highlights the increasing
opportunities for African Americans to dine out, and the
attractions of fast meals. The Special Occasions chapter discusses
all the pertinent occasions for African Americans to prepare and
eat symbolic dishes that reaffirm their identity and culture.
Finally, the latest information in traditional African American
diet and its health effects brings readers up to date in the Diet
and Health chapter. Recipes, photos, chronology, resource guide,
and selected bibliography round out the narrative.
Modelling knowledge as revelation and theology as poetry, this
powerful new reading of the Vita nuova not only challenges Dante
scholars to reconsider the book's speculative emphases but also
offers the general reader an accessible yet penetrating exploration
of some of the Western tradition's most far-reaching ideas
surrounding love and knowledge. Dante's 'little book', included in
full here in an original parallel translation, captures in its
first emergence the same revolutionary ferment that would later
become manifest both in the larger oeuvre of this great European
writer and in the literature of the entire Western canon. William
Franke demonstrates how Dante's youthful poetic autobiography
disrupts sectarian thinking and reconciles the seeming contraries
of divine revelation and human invention, while also providing the
means for understanding religious revelation in the Bible.
Ultimately, this revolutionary unification of Scripture and poetry
shows the intimate working of love at the source of inspired
knowing.
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.
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