The Tragic And The Ecstatic

During the years preceding the composition of Tristan and Isolde, Wagner's aesthetics underwent a momentous turnaround, principally as a result of his discovery of Schopenhauer. Many of Schopenhauer's ideas, especially those regarding music's metaphysical significance, resonated with patterns of thought that had long been central to Wagner's aesthetics, and Wagner described the entry of Schopenhauer into his life as "a gift from heaven." Chafe argues that Wagner's Tristan and Isolde is a musical and dramatic exposition of metaphysical ideas inspired by Schopenhauer. The first part of the book covers the philosophical and literary underpinnings of the story, exploring Schopenhauer's metaphysics and Gottfried van Strassburg's Tristan poem. Chafe then turns to the events in the opera, providing tonal and harmonic analyses that reinforce his interpretation of the drama. Chafe acts as an expert guide, interpreting and illustrating most important moments for his reader. Ultimately, Chafe creates a critical account of Tristan, in which the drama is shown to develop through the music.

During the years preceding the composition of Tristan and Isolde, Wagner's aesthetics underwent a momentous turnaround, principally as a result of his discovery of Schopenhauer. Many of Schopenhauer's ideas, especially those regarding music's metaphysical significance, resonated with patterns of thought that had long been central to Wagner's aesthetics, and Wagner described the entry of Schopenhauer into his life as "a gift from heaven." Chafe argues that Wagner's Tristan and Isolde is a musical and dramatic exposition of metaphysical ideas inspired by Schopenhauer. The first part of the book covers the philosophical and literary underpinnings of the story, exploring Schopenhauer's metaphysics and Gottfried van Strassburg's Tristan poem. Chafe then turns to the events in the opera, providing tonal and harmonic analyses that reinforce his interpretation of the drama. Chafe acts as an expert guide, interpreting and illustrating most important moments for his reader. Ultimately, Chafe creates a critical account of Tristan, in which the drama is shown to develop through the music.

Friedrich Nietzsche believed his own work represented the dawning of a new historical era, and, despite the fact that he lived most of his sane life suffering in obscurity, it is not an exaggeration to say that his vision helped lay the foundations for modernism in style, substance and attitude. Nietzsche was himself devoted to the modern, for he reinterpreted every philosophy, every historical figure and event, every movement that came before him. This reconceptualization of the past through new, modern eyes opened up Nietzsche's thinking to exploring daring possibilities for the future. This prophetic boldness, which is so unique to his style, seduced the modernist generation across the spectrum. He was read by early Zionists as well as by Nazi racial theorists; by Thomas Mann and as well as by Salvador Dali. His influence stretched from psychoanalysis to anarchist politics. Understanding Nietzsche, Understanding Modernism traces the effect of Nietzsche's thinking upon a diverse set of problems: from ontology, to politics, to musical and literary aesthetics. The first section of the volume is a series of essays, each exploring a major work of Nietzsche's, explaining its significance while contributing new interpretations of the text. The middle portion connects Nietzsche's thought to the various strands of modernism in which it reveals itself. The final section is a glossary of key terms that Nietzsche uses throughout his works. An excellent resource for any scholar attempting to conceptualize the foundations of modernism or the historical importance of Nietzsche, this volume seeks to outline the philosopher's works and their reception amongst the generations that immediately followed his passing.

From around 1800, particularly in Germany, Greek tragedy has been privileged in popular and scholarly discourse for its relation to apparently timeless metaphysical, existential, ethical, aesthetic, and psychological questions. As a major concern of modern philosophy, it has fascinated thinkers including Hegel, Kierkegaard, Nietzsche, Freud, and Heidegger. Such theories have arguably had a more profound influence on modern understanding of the genre than works of classical scholarship or theatrical performances. Tragedy and the Idea of Modernity considers this tradition of philosophy in relation to the ancient Greek works themselves, and mediates between the concerns of classicists and those of intellectual historians and philosophers. The volume is organized into sections treating issues of poetics, politics and culture, and canonicity, and contributions by an interdisciplinary range of scholars consider themes of catharsis, the sublime, politics, and reconciliation, spanning 2,500 years of literature and philosophy. Although firmly anchored in the classical tradition, the volume suggests that the tradition of philosophical thought concerning tragedy has a major place in understandings both of ancient tragedy and of modernity itself.

The Metaphysics of Love develops the existential metaphysics of St. Thomas Aquinas, applying it to explore the ontological structure of the human person. Published first in 1962, this book demonstrates the fertility of Thomistic metaphysics and the enduring influence of Thomism on Western philosophy. It uncovers the ecstatic structure of human existence, in dialogue with philosophers ranging from Plato, Aristotle, and Aquinas, to Kant, Hegel, Heidegger, Tillich, Zubiri, and Ortega y Gassett, as well as theologians and historians Romano Guardini, Hilaire Belloc, and Eric Voegelin.Philosophical and theological examinations of love have in various ways raised the following question: how can love of self (eros) be harmonized with love of others (agape)? These types of love represent two drives, Wilhelmsen argues, that in the end must be seen as aspects of existence itself. Moral and psychological problems of love turn out to be manifestations of metaphysical issues.While different cultures have emphasized one of these drives or the other, a healthy culture will not completely forget either. Cultures differ in the way they emphasize one or the other, or flee from one or the other. These dimensions of human existence provide the framework for a person's love of self, neighbour, and God. This volume is part of Transaction's Library of Conservative Thought series.

Karl Marx spoke about the have and the have nots. A third kind always existed in Bharat (ancient India) since time immemorial and continues to this day - those who could have anything but wanted nothing. The Məsts. Remaining always in inner ecstasy and living in complete freedom and abandon, they walk the earth to remind you of your lost glory. To go within. To be in ecstasy within yourself. To be You. To be a Məst. Learn about these amazing Məsts and the grand Tradition that they represent, through the fascinating life of Atmananda Chaitanya. Atmananda is not just a person. He is a wake-up call. This book may awaken people from the illusions of activities into the lap of beingness, totality and completion. This is the story of a possible journey of an ordinary man from a unit to the Universe. He is everybody. He is everything. He is YOU.

While modernity aspired to “fix” radical alienation through aesthetics by assigning an ethical value to narratives, contemporary literature and the arts are no longer immune to the impact of commodity culture amplified by globalization. In the world of commodity, corporate logic, and cyborgs, the very notion of identity is frequently turned into a spectacle. Yet, it is also simultaneously mobilized by the search for what Jean Baudrillard describes as the “ecstatic” form that materializes aesthetics. Ecstatic Consumption: The Spectacle of Global Dystopia in Contemporary American Literature investigates not only how these transformations affect gender, racial, and class relations, as well as how they impact the representation of historical events. Pop culture media and discourses of multiculturalism, both important venues of and vehicles for globalization, have had an extensive effect on contemporary writers like Don DeLillo, Marge Piercy, and Jane Smiley, as have the discourses of terrorism and assimilation on the works of Diana Abu-Jaber, Chang-Rae Lee, Shalom Auslander, and Alissa Torres. As the works of these authors show, the tendency to unify the world as a global village has been frequently complicit in perpetuating oppressive, neo-colonial ideologies. As these writers reveal, literature no longer provides a solid cure for the somnambulist culture of instant gratification. On the global stage, the body becomes the ultimate commodity: the fetish of ecstatic consumption, as it is persistently mobilized by the search for ecstatic avatar (anti)forms. Whether these forms provide an escape into a utopian space or further enhance the dystopian ecstasy is a crucial query framing this book. As it shows, the works of DeLillo, Smiley, Piercy, Abu-Jaber, Lee, Auslander, and Torres provide important and challenging commentaries on the ecstatic gaze of global dystopia, particularly its appetite for alterity and the tragic, often disguised as interchangeable metaphors of Otherness, fear, anxiety, terror, pain, and pleasure, titillation, exoticism, and ecstasy. Consequently, the book sheds light on the ways in which the culture of spectacle is ever-evolving, manipulating and affecting the global dependence on the ecstasy of consumption and its many different forms.

The Metaphysics of Love develops the existential metaphysics of St. Thomas Aquinas, applying it to explore the ontological structure of the human person. Published first in 1962, this book demonstrates the fertility of Thomistic metaphysics and the enduring influence of Thomism on Western philosophy. It uncovers the ecstatic structure of human existence, in dialogue with philosophers ranging from Plato, Aristotle, and Aquinas, to Kant, Hegel, Heidegger, Tillich, Zubiri, and Ortega y Gassett, as well as theologians and historians Romano Guardini, Hilaire Belloc, and Eric Voegelin.Philosophical and theological examinations of love have in various ways raised the following question: how can love of self (eros) be harmonized with love of others (agape)? These types of love represent two drives, Wilhelmsen argues, that in the end must be seen as aspects of existence itself. Moral and psychological problems of love turn out to be manifestations of metaphysical issues.While different cultures have emphasized one of these drives or the other, a healthy culture will not completely forget either. Cultures differ in the way they emphasize one or the other, or flee from one or the other. These dimensions of human existence provide the framework for a person's love of self, neighbour, and God. This volume is part of Transaction's Library of Conservative Thought series.

The Passion of Infinity generates a historical narrative surrounding the concept of the irrational as a threat which rational culture has made a series of attempts to understand and relieve. It begins with a reading of Sophocles' Oedipus as the paradigmatic figure of a reason that, having transgressed its mortal limit, becomes catastrophically reversed. It then moves through Aristotle's ethics, psychology and theory of tragedy, which redefine reason's collapses in moral-psychological rather than religious terms. By changing the way in which the irrational is conceived, and the nature of its relation to reason, Aristotle eliminates the concept of an irrationality which reason cannot in principle dissolve. The book culminates in an extensive reading of Kierkegaard's pseudonyms, who, in a critical retrieval of both Greek tragedy and Aristotle, prescribe their apparently pathological age a paradoxical task: develop a finite form of subjectivity willing to undergo an unthinkable thought ‐ allow the transcendence of a god to enter into the mind as well as the marrow, to make a tragic appearance in which a limit to the immanence of human reason can again be established.