Search results for ""Author Thomas Pfau""

Thomas Pfau’s study of images and visual experience is a tour de force linking Platonic metaphysics to modern phenomenology and probing literary, philosophical, and theological accounts of visual experience from Plato to Rilke. Incomprehensible Certainty presents a sustained reflection on the nature of images and the phenomenology of visual experience. Taking the “image” (eikōn) as the essential medium of art and literature and as foundational for the intuitive ways in which we make contact with our “lifeworld,” Thomas Pfau draws in equal measure on Platonic metaphysics and modern phenomenology to advance a series of interlocking claims. First, Pfau shows that, beginning with Plato’s later dialogues, being and appearance came to be understood as ontologically distinct from (but no longer opposed to) one another. Second, in contrast to the idol that is typically gazed at and visually consumed as an object of desire, this study positions the image as a medium whose intrinsic abundance and excess reveal to us its metaphysical function—namely, as the visible analogue of an invisible, numinous reality. Finally, the interpretations unfolded in this book (from Plato, Plotinus, Pseudo-Dionysius, John Damascene via Bernard of Clairvaux, Bonaventure, Julian of Norwich, and Nicholas of Cusa to modern writers and artists such as Goethe, Ruskin, Turner, Hopkins, Cézanne, and Rilke) affirm the essential complementarity of image and word, visual intuition and hermeneutic practice, in theology, philosophy, and literature. Like Pfau’s previous book, Minding the Modern, Incomprehensible Certainty is a major work. With over fifty illustrations, the book will interest students and scholars of philosophy, theology, literature, and art history.

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In this brilliant study, Thomas Pfau argues that the loss of foundational concepts in classical and medieval Aristotelian philosophy caused a fateful separation between reason and will in European thought. Pfau traces the evolution and eventual deterioration of key concepts of human agency—will, person, judgment, action—from antiquity through Scholasticism and on to eighteenth-century moral theory and its critical revision in the works of Samuel Taylor Coleridge. Featuring extended critical discussions of Aristotle, Gnosticism, Augustine, Aquinas, Ockham, Hobbes, Shaftesbury, Mandeville, Hutcheson, Hume, Adam Smith, and Coleridge, this study contends that the humanistic concepts these writers seek to elucidate acquire meaning and significance only inasmuch as we are prepared positively to engage (rather than historicize) their previous usages. Beginning with the rise of theological (and, eventually, secular) voluntarism, modern thought appears increasingly reluctant and, in time, unable to engage the deep history of its own underlying conceptions, thus leaving our understanding of the nature and function of humanistic inquiry increasingly frayed and incoherent. One consequence of this shift is to leave the moral self-expression of intellectual elites and ordinary citizens alike stunted, which in turn has fueled the widespread notion that moral and ethical concerns are but a special branch of inquiry largely determined by opinion rather than dialogical reasoning, judgment, and practice. A clear sign of this regression is the present crisis in the study of the humanities, whose role is overwhelmingly conceived (and negatively appraised) in terms of scientific theories, methods, and objectives. The ultimate casualty of this reductionism has been the very idea of personhood and the disappearance of an adequate ethical language. Minding the Modern is not merely a chapter in the history of ideas; it is a thorough phenomenological and metaphysical study of the roots of today's predicaments.

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In this brilliant study, Thomas Pfau argues that the loss of foundational concepts in classical and medieval Aristotelian philosophy caused a fateful separation between reason and will in European thought. Pfau traces the evolution and eventual deterioration of key concepts of human agency—will, person, judgment, action—from antiquity through Scholasticism and on to eighteenth-century moral theory and its critical revision in the works of Samuel Taylor Coleridge. Featuring extended critical discussions of Aristotle, Gnosticism, Augustine, Aquinas, Ockham, Hobbes, Shaftesbury, Mandeville, Hutcheson, Hume, Adam Smith, and Coleridge, this study contends that the humanistic concepts these writers seek to elucidate acquire meaning and significance only inasmuch as we are prepared positively to engage (rather than historicize) their previous usages. Beginning with the rise of theological (and, eventually, secular) voluntarism, modern thought appears increasingly reluctant and, in time, unable to engage the deep history of its own underlying conceptions, thus leaving our understanding of the nature and function of humanistic inquiry increasingly frayed and incoherent. One consequence of this shift is to leave the moral self-expression of intellectual elites and ordinary citizens alike stunted, which in turn has fueled the widespread notion that moral and ethical concerns are but a special branch of inquiry largely determined by opinion rather than dialogical reasoning, judgment, and practice. A clear sign of this regression is the present crisis in the study of the humanities, whose role is overwhelmingly conceived (and negatively appraised) in terms of scientific theories, methods, and objectives. The ultimate casualty of this reductionism has been the very idea of personhood and the disappearance of an adequate ethical language. Minding the Modern is not merely a chapter in the history of ideas; it is a thorough phenomenological and metaphysical study of the roots of today's predicaments.

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This book explores Wordsworth's professionalization as a writer in relation to the cultural and economic ascendancy of the English middle class between 1740 and 1820. Its wide-ranging interpretations are coordinated by a single, albeit highly ramified, critical hypothesis: that Romanticism's aesthetic forms simultaneously afforded the middle classes an imaginary furlough from the impinging consciousness of their tenuous socio-economic status. Wordsworth's Profession analyzes and correlates changing paradigms of authorship, poetic genre, and tone with the demographic and spiritual aspects of middle-class life during the late eighteenth and early nineteenth centuries. The first of three parts explores Wordsworth's early descriptive poetry (An Evening Walk, Descriptive Sketches, and "Tinturn Abbey") in relation to inherited and contiguous aesthetic forms and practices, such as the landscapes of Lorrain and Gainsborough, Kant's theory of aesthetic communities, and the institutions of domestic tourism and the Picturesque in late-eighteenth-century England. The second part addresses the construction of a distinctly middle-class paradigm of reading in Lyrical Ballads. It does so in relation to contemporary didactic fiction (Wollstonecraft), anti-didactic writing (Blake), speculative theories of education (Godwin, Coleridge, and Hegel), and the emergent so-called mutual tutor or "monitorial" systems of elementary schooling (Andrew Bell and Joseph Lancaster). The book's final part, on The Prelude, focuses on representations of middle-class moral and economic anxiety as mediated in the spirited debate about populousness and public morality. Seen in this context, Wordsworth's autobiography appears less a confession than an attempt to simulate poetic answers to questions lingering in the national unconscious, questions too vast and threatening to bear conscious asking.

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Moving beyond views of European Romanticism as an essentially poetic development, Lessons of Romanticism strives to strengthen a critical awareness of the genres, historical institutions, and material practices that comprised the culture of the period. This anthology—in recasting Romanticism in its broader cultural context—ranges across literary studies, art history, musicology, and political science and combines a variety of critical approaches, including gender studies, Lacanian analysis, and postcolonial studies.With over twenty essays on such diverse topics as the aesthetic and pedagogical purposes of art exhibits in London, the materiality of late Romantic salon culture, the extracanonical status of Jane Austen and Fanny Burney, and Romantic imagery in Beethoven’s music and letters, Lessons of Romanticism reveals the practices that were at the heart of European Romantic life. Focusing on the six decades from 1780 to 1832, this collection is arranged thematically around gender and genre, literacy, marginalization, canonmaking, and nationalist ideology. As Americanists join with specialists in German culture, as Austen is explored beside Beethoven, and as discussions on newly recovered women’s writings follow fresh discoveries in long-canonized texts, these interdisciplinary essays not only reflect the broad reach of contemporary scholarship but also point to the long-neglected intertextual and intercultural dynamics in the various and changing faces of Romanticism itself.Contributors. Steven Bruhm, Miranda J. Burgess, Joel Faflak, David S. Ferris, William Galperin, Regina Hewitt, Jill Heydt-Stevenson, H. J. Jackson, Theresa M. Kelley, Greg Kucich, C. S. Matheson, Adela Pinch, Marc Redfield, Nancy L. Rosenblum, Marlon B. Ross, Maynard Solomon, Richard G. Swartz, Nanora Sweet, Joseph Viscomi, Karen A. Weisman, Susan I. Wolfson

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