Humanism and the Humanities in the Twenty-first CenturyWilliam S. Haney, Peter Malekin Bucknell University Press, 2001 - 204 páginas The book raises questions about the underlying paradigms of contemporary learning and social thinking, including the nature of consciousness and the mind, the purpose and conduct of eduation, the role of science and scientific methodologies, the place of art and literature, or relationship to the environment, our concepts of spirituality, our attitudes to the past and also what we are doing to our own future. |
Contenido
| 5 | |
What Price Humanity? | 41 |
A Live Issue? | 76 |
The Arts and the Transformation of Consciousness | 89 |
Consciousness and the Future of Theater | 91 |
Humanitas in Botticelli and Cervantess Don Quixote | 106 |
Humanism and Human Concern | 125 |
Multiculturalism Canonicity Pluralism and the Ethics of Reading Heart of Darkness | 127 |
The Radical Tradition of Humanistic Consciousness | 152 |
Our Future Is Now | 171 |
Association for the Protection and Integrity of an Unspoiled Mars | 173 |
Notes on Contributors | 183 |
Index | 186 |
Términos y frases comunes
actor aesthetic experience Altizer Apocalypse apocalyptic argues Atman awareness become Blake Botticelli's Brian Aldiss century Cervantes Christian claims classical cognitive concept Conrad Consciousness Studies critical culture Daniel DAVID JASPER death deconstruction Derrida dharma discourse divine Don Quixote dualism Dulcinea Eastern empiricism ence enlightenment ethical Feyerabend Finnegans Wake function Haney Heart of Darkness human humanist Indian philosophy intellectual interpretation Journal of Consciousness knowledge language literature lives London Marlow Mars McGinn means mental mind modern nature Natyashastra ness nondual notion object Oxford painting perception perspective phenomenal phenomenology physical Plotinus poetic political postmodernism Primavera problem pure consciousness quantum question radical reader reading reality Renaissance Renaissance Humanism Sancho sattva scientific sciousness sense sensory society Spanish Golden Age specific spectators terraforming theater theology tion tradition Trans transform truth ture turiya understanding unity University Press Varela Venus Western witnessing York
Pasajes populares
Página 157 - ... less private to myself than are my thoughts or my feelings. In either case my experience falls within my own circle, a circle closed on the outside; and, with all its elements alike, every sphere is opaque to the others which surround it In brief, regarded as an existence which appears in a soul, the whole world for each is peculiar and private to that soul.
Página 95 - If I seen him bearing down on me now under whitespread wings like he'd come from Arkangels, I sink I'd die down over his feet, humbly dumbly, only to washup. Yes, tid. There's where. First. We pass through grass behush the bush to. Whish! A gull. Gulls. Far calls. Coming, far! End here. Us then. Finn, again! Take. Bussoftlhee, mememormee! Till thousendsthee. Lps. The keys to. Given! A way a lone a last a loved a long the...
Página 94 - Finnegan'sWake, which begins: riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs.
Página 94 - The fall (bababadalgharaghtakamminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthur nuk!) of a once wallstrait oldparr is retaled early in bed and later on life down through all Christian minstrelsy. The great fall of the offwall entailed at such short notice the pftjschute of Finnegan, erse solid man, that the...
Página 20 - The truth is quite the contrary: the author is not an indefinite source of significations which fill a work; the author does not precede the works, he is a certain functional principle by which, in our culture, one limits, excludes, and chooses; in short, by which one impedes the free circulation, the free manipulation, the free composition, decomposition, and recomposition of fiction.
Página 157 - It knits us in and it knits us out. It has knitted time space, pain, death, corruption, despair and all the illusions — and nothing matters.
Página 90 - The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devil's party without knowing it.
Página 20 - literary' ideas on femininity? Is it universal wisdom? Romantic psychology? We shall never know, for the good reason that writing is the destruction of every voice, of every point of origin. Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing.
Página 20 - ... the individual is interpellated as a (free) subject in order that he shall submit freely to the commandments of the Subject, ie in order that he shall (freely) accept his subjection, ie in order that he shall make the gestures and actions of his subjection 'all by himself.
Página 91 - I know of no other Christianity and of no other Gospel than the liberty both of body & mind to exercise the Divine Arts of Imagination...