_A capstone work from a renowned philosopher who explores how Western cultural biases may be challenged by classic texts in order to enter another way of thinking_ How can a person from a Western culture enter into a way of thinking as different as that of the Chinese? Can a person truly escape from his or her own cultural perspectives and assumptions? French philosopher François Jullien has throughout his career explored the distances between European and Chinese thought. In this fascinating (...) summation of his work, he takes an original approach to the conundrum of cross-cultural understanding. Jullien considers just three sentences in their original languages. Each is the first sentence of a seminal text: the Bible in Hebrew, Hesiod’s _Theogony_ in Greek, and the _Yijing_ in Chinese. By dismantling these sentences, the author reveals the workings of each language and the ways of thought in which they are inscribed. He traces the hidden choices made by European reason and assumptions, discovering among other things what is not thought about. Through the lens of the Chinese language, Jullien offers, as always, a new and surprising view of our own Western culture. (shrink)

What do we mean when we say time passes? How do contingency and anachronism and other philosophical concepts bearing on time affect the more concrete realities of our political and cultural lives? In ways small and great, personal and cultural, we all experience the mutability of time. We feel it expand and contract, speed up and slow down, as it bends to the imperatives of memory, money, and the media. In our own time we have witnessed a disengagement with the (...) past even as technological advances have allowed us to capture and reproduce past time as never before. How are we to make sense of this paradox? In this wide-ranging meditation on the meaning of time, Sylvaine Agacinski weaves together discussions of Aristotle, Kant, Hegel, Freud, Heidegger, Baudelaire, Barthes, and especially Walter Benjamin -- her model for the modern "passer of time" -- as she traces a time line of the philosophy of time. After examining how shifting attitudes toward the passage of time have affected everything from art criticism to the development of photography to the rise of modernism itself, Agacinski concludes by proposing a rethinking of democracy that emphasizes patience in the face of our current temporal frenzy. (shrink)

Informed by a provocative exhibition at the Louvre curated by the author, _The Severed Head_ unpacks artistic representations of severed heads from the Paleolithic period to the present. Surveying paintings, sculptures, and drawings, Julia Kristeva turns her famed critical eye to a study of the head as symbol and metaphor, as religious object and physical fact, further developing a critical theme in her work-- _the power of horror_--and the potential for the face to provide an experience of the sacred. Kristeva (...) considers the head as icon, artifact, and locus of thought, seeking a keener understanding of the violence and desire that drives us to sever, and in some cases keep, such a potent object. Her study stretches all the way back to 6,000 B.C.E., with humans' early decoration and worship of skulls, and follows with the Medusa myth; the mandylion of Laon ; the biblical story of John the Baptist and his counterpart, Salome; tales of the guillotine; modern murder mysteries; and even the rhetoric surrounding the fight for and against capital punishment. Kristeva interprets these "capital visions" through the lens of psychoanalysis, drawing infinite connections between their manifestation and sacred experience and very much affirming the possibility of the sacred, even in an era of "faceless" interaction. (shrink)

Informed by a provocative exhibition at the Louvre curated by the author, _The Severed Head_ unpacks artistic representations of severed heads from the Paleolithic period to the present. Surveying paintings, sculptures, and drawings, Julia Kristeva turns her famed critical eye to a study of the head as symbol and metaphor, as religious object and physical fact, further developing a critical theme in her work-- _the power of horror_--and the potential for the face to provide an experience of the sacred. Kristeva (...) considers the head as icon, artifact, and locus of thought, seeking a keener understanding of the violence and desire that drives us to sever, and in some cases keep, such a potent object. Her study stretches all the way back to 6,000 B.C.E., with humans' early decoration and worship of skulls, and follows with the Medusa myth; the mandylion of Laon ; the biblical story of John the Baptist and his counterpart, Salome; tales of the guillotine; modern murder mysteries; and even the rhetoric surrounding the fight for and against capital punishment. Kristeva interprets these "capital visions" through the lens of psychoanalysis, drawing infinite connections between their manifestation and sacred experience and very much affirming the possibility of the sacred, even in an era of "faceless" interaction. (shrink)