Out Sources: Philosophy-Culture-Politics – Serie
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2 produkter
637 kr
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Globalization is more than an economic or geopolitical matter; it is above all a new (political) culture. Like the Kantian revolution in the 18th century, our "global" moment urgently requires philosophical inquiry to determine if it represents a 20th century revolution in thinking. Critical Cosmology takes up the task of establishing the much needed philosophical tools to "think" globalization by reading Kant's re-foundation of cosmopolitanism as a political, not moral, text. Raulet, in committing himself to a close study of this late capitalist global moment, gets us to a much-needed cosmology of 21st century "globalization." The world's economic evolution has continually challenged some of our most basic modern concepts, especially the recognition of the rights of nations. This evolution has also created a need for recognizing the rights of citizens and others participating in the growth of the world's economies. In neither the service of a prescriptive morality nor in the service of any one specific cultural, political, or intellectual ideology Gérard Raulet investigates the construction of a public space that can accommodate global citizenship. Through a unique and massive genealogy of political thinkers Raulet, like no other contemporary critic, begins the process of carving out the social, cultural, and political space that will come to accommodate the common activity of an emerging global culture. A brilliant and unique investigation of our contemporary political moment this will affect political thinkers of every variety and, especially, those who are concerned with conflict and peace studies, the development of nations and nation-states, and human rights on a national and international scale
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Grounded in continental philosophy, The Conjectural Body: Gender, Race, and the Philosophy of Music uses feminist, critical race, and postcolonial theories to examine music, race, and gender as discourses that emerge and evolve with one another.. In the first section, author Robin James asks why philosophers commonly use music to explain embodied social identity and inequality. She looks at late twentieth-century postcolonial theory, Rousseau's early musical writings, and Kristeva's reading of Mozart and Schoenberg to develop a theory of the "conjectural body," arguing that this is the notion of embodiment that informs Western conceptions of raced, gendered, and resonating bodies. The second section addresses the ways in which norms about human bodily difference-such as gender and race-continue to ground serious and popular hierarchies well after twentieth and twenty-first century art and philosophy have deconstructed this binary. Reading Adorno's work on popular music through Irigaray's critique of commodification, James establishes and explains the feminization of popular music. She then locates this notion of the feminized popular in Nietzsche, and argues that he critiques Wagner by making an argument for the positive aesthetic (and epistemological) value of feminized popular music, such as Bizet and Italian opera. Following from Nietzsche, she argues that feminists ought and need to take "the popular" seriously, both as a domain of artistic and scholarly inquiry as well as a site of legitimate activism. The book concludes with an analysis of philosophy's continued hostility toward feminism, real-life women, and popular culture. While the study of gender, race, and popular culture has become a fixture in many areas of the academy, philosophy and musicology continue to resist attempts to take these objects as objects of serious academic study.