Ashraf H. A. Rushdy examines gratitude as a philosophical concept. In the first half of the book, he outlines its history and significance in western philosophical history, specifically in classical antiquity, the early modern era, and the Enlightenment. The second half of the book is focused on contemporary meanings of gratitude, as a sentiment, action, and disposition: how we feel grateful, act grateful, and cultivate grateful being. Rushdy argues that gratitude is a virtue that we practice in moral recognition of (...) our dependency and connectedness with our families, friends, communities, environments, and universe. (shrink)

From Antiquity until recently, philosophers and mathematicians have continually discussed the concept of angle and its relation to archimedean and non-archimedean theories of measurement. For the first time, this book traces the history of these discussions in Greek and Arabic, from Euclid to Kamāl al-Dīn al-Fārisī, after whom the discussion was not resumed until Newton and Euler. The volume presents first editions of over twenty texts, either in Arabic or Greek and translated into Arabic, of the greatest mathematicians and philosophers (...) of the time. The texts are here translated into French and supplemented with extensive commentary. The book begins with the definitions and propositions of Euclid on angles and measurement, followed by the Greek commentary tradition represented by Proclus and Simplicius (only extant in Arabic) and the writings of the Arabic mathematicians and philosophers from the 9th through 14th century, placing the fundamental contributions by Avicenna and Ibn al-Haytham into their historical context and showing how numerous successors produced new syntheses of their work. (shrink)

L'oeuvre de Roshdi Rashed se deploie selon deux directions principales: la naissance, dans les Temps Modernes, des mathematiques sociales et de la theorie des probabilites d'une part, et l'histoire des sciences exactes a l'epoque de la Renaissance de l'Islam classique d'autre part. Cette oeuvre de longue haleine n'a cesse d'elargir la connaissance que nous avons de ces dernieres, par l'edition et la traduction de textes nouveaux, la reconstitution des traditions conceptuelles dans lesquelles ces textes s'inscrivent, ainsi que par la mise (...) en resonance de ces traditions. Elle agit en meme temps comme une genealogie de certaines formes de la mathesis moderne. Sans manifeste ni discours sur la methode, les travaux de Roshdi Rashed proposent un approfondissement constant de la tradition de l'epistemologie historique illustree par Gaston Bachelard et Georges Canguilhem. C'est pourquoi ces travaux ne laissent indifferent ni l'helleniste, ni bien sur l'arabisant specialiste de champs connexes, ni le medieviste, ni les specialistes de l'histoire des sciences modernes. C'est ce dont temoigne ce recueil d'etudes, dues a d'eminents collegues de Roshdi Rashed et a ses eleves. (shrink)

Public apologies have become increasingly common scenes and representative moments in what appears to be a global process of forgiveness. The apology-forgiveness dynamic is familiar to all of us, but what do these rituals of atonement mean when they are applied to political and historical events? In his timely, topical, and incisive book A Guilted Age, Ashraf Rushdy argues that the proliferation of apologies by politicians, nations, and churches for past events—such as American slavery or the Holocaust—can be understood as (...) a historical phenomenon. In our post–World War II world, Rushdy claims that we live in a “guilted age.” A Guilted Age identifies the two major forms of apologies—political and historical—and Rushdy defines the dynamics and strategies of each, showing how the evolution of one led to the other. In doing so, he reveals what apology and forgiveness do to the past events they respectively apologize for and forgive—and what happens when they fail. (shrink)

Fiction, Reference, and Nonexistence contains a new, contemporary theory of fiction and discusses the connection between language and reality. Martinich and Stroll, two of America's leading philosophers, explore fiction and undertake an analytic philosophical study of fiction and its reference, and its relation to truth.

Cette édition numérique a été réalisée à partir d'un support physique, parfois ancien, conservé au sein du dépôt légal de la Bibliothèque nationale de France, conformément à la loi n° 2012-287 du 1er mars 2012 relative à l'exploitation des Livres indisponibles du XXe siècle. Pages de début Préface La section de la ligne dans la République (VI 509d 26-28) Le problème de la mesure dans la perspective de l'Être et du non-Être Sur les principes des mathématiques chez Aristote et Euclide (...) Sur la définition euclidienne de la droite L'analyse et la synthèse selon Ibn al-Haytham Histoire de la théorie des parallèles Implicit versus explicit geometrical methodologies: The case of construction Descartes and Galileo: The quantification of time and force L'analogie et la pensée mathématique La naissance du projectif L'usage philosophique des mathématiques au XVIIesiècle Pages de fin. (shrink)

Maimonide, philosophe dans la mouvance d'al-Farabi, etait medecin, informe des mathematiques et maitre de la litterature talmudique. Ce livre a pour ambition d'examiner les liens entre philosophie et science dans l'oeuvre de Maimonide, et aussi de placer celle-ci dans son veritable contexte historique entre Cordoue et Le Caire au XIIe siecle. Les etudes rassemblees ici explorent plusieurs facettes de cette oeuvre: logique, savoir et philosophie mathematiques, ecrits medicaux, conception du libre-arbitre ou des rapports entre nature et loi... Elles examinent aussi (...) l'impact qu'a eu l'oeuvre de Maimonide en arabe, en hebreu et en latin. Maimonides, a philosopher in the tradition of d'al-Farabi, was a physician, well-informed in mathematics, and a master of Talmudic literature. The goal of this book is to examine the links between philosophy and science in Maimonides' work, and also to situate it within its genuine historical context, between Cordoba and Cairo in the 12th century. The studies collected here explore several facets of this work: logic, mathematical knowledge and philosophy, medical writings, conception of free will and of the relations between nature and law, etc. They also examine the impact of Maimonides' work on Arabic, Hebrew, and Latin scientific and philosophical literature. (shrink)

Decentering Rushdie argues that postcolonial studies has consistently underestimated the investment of the English-language Indian novel in the nation by focusing on a handful of texts that conform to Western assumptions about the bankruptcy of the postcolonial nation-state. Taking Salman Rushdie’s work as the sign of a presumed homology between postcolonialism and a postmodern distrust of totality, Jani demonstrates that his novels are hardly representative of the range of Indian writing in English. Instead, in a series of expert readings of (...) less well-known texts, he demonstrates the commitment to the decolonising project that exists even within the inevitably cosmopolitan worldview of Indians writing in a colonial language. Situating his work within foundational debates in postcolonial studies, this review demonstrates the fresh light he sheds on the vexed relations among historical location, political ideology and literary form. (shrink)

This essay deals with the manner in which Salman Rushdie’s works engage with the heterogeneous logics of ethics and aesthetics. Drawing upon the work of Jacques Rancière it is argued that Rushdie neutralizes the two by introducing what Rancière calls a dissensus in the ethical-aesthetic hierarchy. The dissensus works on a principle of ‘excess’ so that within the domain of aesthetics the ethical is pushed to its limits. The order of desire (aesthetics) and the order of knowledge (ethics) are no (...) longer seen as hierarchical and mutually exclusive categories. By examining two versions of an unpublished novel by Rushdie (‘Madame Rama’) it is suggested that Bollywood cinema functions as a mode in which the two orders come together. In this early and mercifully unpublished novel, one finds the beginnings of Rushdie’s belief that works of art are sites of ideological and ethical contestations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rushdie’s Dastan-e-Dilruba: The Satanic Verses As Rushdie’s Love Letter to IslamFeroza Jussawalla (bio)Meheruban likhoon ya dilruba likhoon hyran hoon ke apke khat me kya likhoonYe mera prempatr padh kar ke tum naraz na hona ke tum meri zindagi ho ke tum meri bandagi ho[Should I address you as respected one Should I address you as beloved one I am so distraught about how I should address youWhen you read (...) my love letter You should not be disappointed Because you are my life and you are my “life’s work”]—Popular Hindi film song from Raj Kapoor’s Sangam (1964) [my translation]Salman Rushdie has been classified as a postcolonial 1 writer whose fiction depicts the hybrid nature of postcolonials in their migrations and movements, their merging and mixing. Rushdie has variously been called a “Third World Cosmopolitan” [Brennan, Salman Rushdie viii], a “metropolitan intellectual,” and “a hybrid” but most often a [End Page 50] “postcolonial,” because of his “birth” as a “Midnight’s child”—a child born as India was gaining independence at midnight on 14 August 1947 2 —his subsequent education in England, and the making of his home in metropolitan London. Such a perspective is eurocentric and does not provide complete answers to Rushdie’s complex works or the complicated response to his work. For the very hybridity that Rushdie manifests results from his being not only a “post-British” colonial but also a “post-Mughal” colonial.The British were not the only colonizers of India. In fact, Indian historians have traditionally identified several waves of colonization. Journalists Larry Collins and Dominique Lapierre best summarize the two major waves of colonization as follows:Hinduism itself had been brought to India by the Indo-European hordes descending from the North to wrest the subcontinent from its ancient Dravidian inhabitants.... The faith of the Prophet had come much later, after the cohorts of Genghis Khan and Tamurlane had battered their way down the Khyber Pass to weaken the Hindus’ hold on the great Gangetic Plain. For two centuries, the Moslem Mogul emperors had imposed their sumptuous and implacable rule over most of India, spreading in the wake of their martial legions the message of Allah, the One, the Merciful.[Freedom at Midnight 36]While the British were actually occupying India, post-Mughal colonialism in the form of Persian poetry, literature, and the general “sumptuousness” of its art and architecture held sway. The Persian language begot Urdu, often described by linguists as a “camp language” of the Muslim invaders of the Subcontinent. However, Persian, Arabic, and Hindi had come together to create a new language for the poetry, literature, arts, and in general the “high culture” of today’s Indian Muslims. Jawaharlal Nehru, in his definitive history of India entitled Discovery of India, wrote,The Mughals were outsiders and strangers to India and yet they fitted into Indian structure with remarkable speed and began the Indo-Mughal period.... Their dynasties became completely Indianized with their roots in India, looking upon India as their homeland, and the rest of the world as foreign.[236]A synthesis worked itself out: new styles of architecture arose; food and clothing changed; and life was affected and varied in many other ways.... The Persian language became the official court language and many Persian words crept into popular use.[237]Persian was the lingua franca of the incoming Muslims from AD 1193 onward, and Persian literature became the favored literature of India for approximately five centuries [Ali 3–4].It is in this tradition of post-Mughal Urdu high culture that Rushdie grew up. In a 1983 interview with Michael Kaufman, Rushdie said,My grandfather, my father’s father, was a good Urdu poet. My father is not a writer but he’s a very literary and literate man, a student of both Arabic and Persian Literature and of Western Literature. At Cambridge he was quite scholarly. So I grew up in an atmosphere of books. And both my parents, in their different ways, were very gifted storytellers. [End Page 51]My mother, in common with most Eastern women and perhaps even women of the West, was the... (shrink)

تناول هذا الكتاب بالبحث فلسفة ابن رشد (الرشدية) في فكر محمد عابد الجابري، واعتمدت على فرضية مفادها: إن فلسفة ابن رشد(الرشدية) تشكل حجر الزاوية في فكر الجابري، وسعىي إلى استخلاص الرشدية من بين أعماله، وتحليلها وتصنيفها، من خلال الإجابة عن سؤالين أساسيين، وهما: كيف فهم الجابري فلسفة ابن رشد، وقدمها للقارئ العربي؟ وكيف وظف (الرشدية) في أعماله الفكرية والنهضوية؟ من خلال منهجية تحليلية لا تكتفي بالوصف، وإنما تتعدى ذلك لتحليل الرشدية عند الجابري، وتصنيفها، واستخراج ما تتميز به، بتتبعها، وجمعها، وتصنيفها (...) في مختلف أعماله. وخلصت إلى عدد من الاستنتاجات، وأهمها: إن رشدية الجابري تميزت بجمعها بين مستويي الفهم، والتوظيف، ضمن مشروع واحدٍ يصح أن يطلق عليه مشروعٌ تصحيحي يرمي إلى تصحيح الصورة السائدة في الفكر العربي عن ابن رشد وفلسفته، وإن هذا المشروع مسكون من أوله إلى آخره بهمٍّ نهضوي يبحث صاحبه، من خلال التنقيب في التراث الرشدي، عن إجابات لسؤال النهضة والتقدم، وبينت أن فكر ابن رشد، هو الذي يصلح بين كل هذا التراث، ليعيش معنا واقعنا اليوم، والجابري بذلك لا يدعو إلى إرجاع عقارب الساعة إلى الوراء أبدا، وتبني المحتوى العرفي للرشدية، في الفلسفة، أو الطبيعة، أو الفلك، أو الطب؛ لعدم إمكانية استعادته؛ لإنه أصبح جزءا من الماضي، وما يدعو له الجابري هو استعادة المضمون الايديولوجي لفلسفة ابن رشد، أو أسماها "الروح الرشدية" التجديدية، والعقلانية في التعامل مع واقعنا الراهن، وقضايانا المعاصرة. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Anthony Close THE EMPIRICAL AUTHOR: SALMAN RUSHDIE'S THE SATANIC VERSES HOBBES, comparing the author ofan action to the owner ofgoods, asserts, "And as the right of possession, is called dominion; so the right of doing any action, is called authority" (Leviathan, Book I, chap. 16). My purpose in this essay is to apply this Hobbesian maxim to the relation Author/Text, expanding somewhat Hobbes's notion of authority. I presuppose that (...) in our day-to-day dealings with our fellow men, we envisage each others' acts as exhibiting purpose and commitment, which make them ours in more than the platitudinous sense that we performed them. By virtue of that, they confer on us a privileged, though clearly not unchallengeable, authority in saying what they are and what they are for. Such, in effect, is the position reached by Austin in How to Do Things with Words, and it broadly corresponds to that of various philosophical writings on human action—by Anscombe, Davidson, and Melden.1 To be sure, we may legitimately consider human behavior from other viewpoints (e.g., structuralist, anthropological, psychoanalytical, Marxist) trained on its unconscious presuppositions. Yet, insofar as such theorizing fails to acknowledge the priority of the Hobbesian perspective, it will seem perverse for a reason that has been well put by Charles Taylor. Precisely because history is made up of purposeful activity, Taylor argues, we need to explain historical patterns in a way that is "intelligible in relation to conscious action" even though they may not "issue from conscious action."2 By this criterion much of our modern literary theory is defective. A vivid measure of the deficiency is provided by the furor over Salman Rushdie's TL· Satanic Verses, culminatingin thefatwa pronounced against Philosophy and Literature, © 1990, 14: 248-267 Anthony Close249 him by the Ayatollah Khomeini in February 1989. I take it that for anyone vocationally committed to the practice or study ofliterature and to the cause of freedom of expression, the defense of Rushdie cannot be a matter of indifference. Nor can one be indifferent to the chasm of misunderstanding that separates Rushdie and his apologists from the novel's Muslim opponents. I believe that these two causes—defending Rushdie and bridging the chasm—can be reconciled by offering better explanations ofhis novel in place ofcrude denunciations or, from some non-Muslim quarters, smug and knowing dismissals. Yet, as we shall see, the task of explanation could be considered hamstrung by our modern poetics. I was reminded ofHobbes's textby Rushdie's lucid and cogent defense of his novel in TL· Independent (London, February 4, 1990). Against the accusations that he had deliberately reviled the Islamic faith, he argued as follows. Though TL· Satanic Verses, like many novels that Rushdie esteems, is a work of radical dissent, questioning, and reimagining, it is motivated by a spirit of serious inquiry rather than debunking derision. More particularly, it reflects a determination that underlies all Rushdie's work: "to create a literary language and literary forms in which the experience offormerly-colonised, still-disadvantaged peoples might find full expression." He continues: "It is written from the very experience of uprooting, disjuncture and metamorphosis... that is the migrant condition, and from which, I believe, can be derived a metaphor for all humanity.... [It] celebrates hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, cultures, ideas, politics, movies, songs. It rejoices in mongrelisation and fears the absolutism of the Pure." Note the insistence on how these themes flow direcdy from Rushdie's own experience. Two days after the publication of this article, Harold Pinter gave on Rushdie's behalf a lecture on the relationship of literature to religion and society at the Institute of Contemporary Arts in London. In this lecture, Rushdie articulated a Bakhtinian view of the novelist's function: to dramatize ironically and noncommittally the clash of voices, languages, and ideologies in a world without gods and without traditionsanctioned truth. Rushdie referred specifically, I think, to a species of postmodernist novel which we may dub "palimpsest history";3 the species includes Rushdie's works, García Márquez's One Hundred Years of Solitude, Carlos Fuentes's Terra Nostra... (shrink)

The European Legacy, Volume 17, Issue 4, Page 542-543, July 2012.

In the present article, I look into the culture-building power of Eros from Schiller’s ideas of “the aesthetic state of mind” in Letters on the Aesthetic Education of Man, through the Pre-Raphaelites’ eroticism to the nineteenthcentury fin de siècle aestheticized homoeroticism and beyond. I argue that eroticism is a reaction to the increasing sense of alienation brought about by bourgeois modernity. The “moments” and texts used to illustrate the thesis that eroticism shaped an alternative order are far from exhausting a (...) very large list which could add nuances to the argument. The body is one of the essential aspects tackled, since eroticism cannot be conceived in its absence. The body may be an object of desire around which imagination weaves its yarn, or a blank page to be inscribed, or a danger zone, or a hypertrophied space projected by the lover’s longing for fusion. Eroticism in Salman Rushdie’s novels is the focus of my approach after a survey of some landmarks of erotic imagination. I argue that his novels are a new stage of the imagination infused by Eros. The article probes into how two centuries of aesthetic modernity have been shaped by the reality principle proposed by Schiller and how that essentially erotic model has suffered changes in time. (shrink)

This essay brings the postcolonial novel in relation with an often-overlooked but rich resource: the embedded, materialist figurations of psychoanalysis. It examines Salman Rushdie's use of the alternative register of sensory perception in Midnight's Children to piece together an extant self that corresponds both actively and passively to the new historical and political realities of the subcontinent. In doing so, however, the essay moves beyond critical commonplaces about Rushdie's magical realism and revisionary historiography to align his æsthetic instead to the (...) media conditions under which Freud worked, the emergent ideas of transference and telepathy, and the resultant imperatives of Freudian psychoanalysis. The capaciousness and indeterminate logic of Midnight's Children can be read as those of an analytic medium which indiscriminately receives psychic material, both individual and collective. The narrator, like Freud's analyst, is idealized as amedia technology who/which reconstructs a story from the derivatives of the national unconscious. (shrink)

Spivak refers to “originary queerness” as a concept she cannot yet theorize. If concepts convey and uphold heterogeneous lived experience, then the paradoxical missing-ness of a corresponding “what...

After an introduction to the major issues confronting intellectuals, this book explores the various aspects of the intellectual's role including: * philosophers and academics who have tried to define the function of the intellectual * how intellectuals have assumed the status of the conscience of the nation and the voice of the oppressed * the interaction of intellectuals with Marxism * the place of the intellectual in American society Covering regions as diverse as Israel, Algeria, Britain, Ireland, central Europe and (...) America, this collection considers the question of whether the intellectual can still lay claim to the language of truth. In answering, this study tells us much about the modern world in which we live. _Coverage includes the following thinkers:_ Gramsci, Weber, Yeats, Auden, Levy, Mailer, Walzer, Marx and many more. (shrink)

Ways of Being Free: Introduction -- War Is Everything's Father: History and Death as Causes of Existential Angst -- Introduction: Causes of Existential Angst -- Change and Changelessness in Midnight's Children -- The Road of Existential Struggle in The Famished Road -- History and the "Nervous Condition" in The English Patient -- Death as a Drive to Meaningful Existence in Midnight's Children -- Becoming Dead-to-the-World in The English Patient -- Ideological Re-appropriation through Death in The Famished Road -- Authenticity -- (...) Authenticity: Introduction -- From Self-Sufficiency to Inoperative Community in The English Patient -- Revolution Revisited in The Famished Road -- From Communalism to the Comic Absurd in Midnight's Children. (shrink)

This essay argues that what is provoking about Ibn Rushd today is not his stance on such topics as the eternity of the world, God's knowledge of singular things, or the immortality of the soul. It is rather his radical philosophical elitisim, i.e., his view that every religion has room for philosophy, but only for the few - the majority must simply follow holy writ and leave all questioning and allegorical interpretation to those few individuals who possess sufficient training in (...) apodictic thinking. I start out with chapters on Salman Rushdie and his view of Ibn Rushd in the novel Two Years, Eight Months and Twenty-Eight Nights and the reception of Ibn Rushd in the Latin scholastic tradition. I then switch to Ibn Rushd’s biography and the context of his work in Almohad Andalusia. I provide an overview of the development of Islamic philosophy up until Ibn Rushd. I then, in five chapters, offer a detailed reading of his fatwa in defense of philosophy (called the Decisive Treatise). I conclude with some general remarks on the relationship between metaphysics and politics in Ibn Rushd’s works, drawing parallels to other thinkers both in the Islamic and in the Western tradition. The book ends with a selection of Danish-language translations of texts by Ibn Rushd that were translated into Latin during the Middle Ages and the Renaissance (his Letter to a friend concerning God’s knowledge of singular things, the last chapter of the Incoherence of the Incoherence, and commenta 5 and 36 from the Commentary on De anima III). (shrink)

Salman Rushdie posed the question, ?What kind of idea are you?? We have borrowed his provoking question and held it up to ?Europe.? In this article, we suggest that ?Europe? cannot be primarily identified or located in terms of geographies, histories, religions, cultures or values, and that attempts to do so diminish the idea of ?Europe.? We also contest the vision of ?Europe? as a series of concentric circles emanating from Brussels and suggest that this conception indefensibly marginalizes vital portions (...) of ?Europe.? We propose that, while the European Union (EU) is attempting to define core concepts of ?Europe,? ?Europe's? frontiers and borders (wherever or whatever they may be, inside or outside ?Europe?) are actively constructing, contesting and resisting ?Europe.? The peripheries and perimeters are no less important than the core. On the contrary, they give substance to the idea of ?Europe.? Finally, we argue that ?Europe? can best be understood as a non-teleological construct, a narrative à la Roland Barthes. Inspired by Barthes, we propose a ?Europe? Theory of Classification operating at the levels of functions, actions and narration. (shrink)

This paper considers Salman Rushdie’s location as a migrant writer of the postcolonial generation while looking at criticism on his writing style by foregrounding ways in which Rushdie writes about history, reality and identity in Midnight’s Children. Underlying Rushdie’s deconstructive playfulness is a radical political spirit envisioning a humanism beyond the rigid constructions of a self/other duality, Hindu/Muslim identity, or Eastern/Western dichotomy. Furthermore, Rushdie opens up a discourse on being and belonging as a legitimate place/space for those stranded in that (...) “strange middle ground, trapped between belief and disbelief.” According to Rushdie, this space, this middle ground, which he terms the “third principle,” could be tapped to decolonize place as well as minds. The paper also analyzes how Rushdie uses the metaphors of the “whole” and “hole” in Midnight’s Children to show he writes the story of the colonial, national and postcolonial condition from the place of the personal, where personal body politics meets the geographic body politics of a whole Indian sub-continent. (shrink)

This paper considers Salman Rushdie’s location as a migrant writer of the postcolonial generation while looking at criticism on his writing style by foregrounding ways in which Rushdie writes about history, reality and identity in Midnight’s Children. Underlying Rushdie’s deconstructive playfulness is a radical political spirit envisioning a humanism beyond the rigid constructions of a self/other duality, Hindu/Muslim identity, or Eastern/Western dichotomy. Furthermore, Rushdie opens up a discourse on being and belonging as a legitimate place/space for those stranded in that (...) “strange middle ground, trapped between belief and disbelief.” According to Rushdie, this space, this middle ground, which he terms the “third principle,” could be tapped to decolonize place as well as minds. The paper also analyzes how Rushdie uses the metaphors of the “whole” and “hole” in Midnight’s Children to show he writes the story of the colonial, national and postcolonial condition from the place of the personal, where personal body politics meets the geographic body politics of a whole Indian sub-continent. (shrink)

‘IB was one of the great affirmers of our time.’ John Banville, New York Review of Books The title of this final volume of Isaiah Berlin’s letters is echoed by John Banville’s verdict in his review of its predecessor, Building: Letters 1960–75, which saw Berlin publish some of his most important work, and create, in Oxford’s Wolfson College, an institutional and architectural legacy. In the period covered by this new volume (1975–97) he consolidates his intellectual legacy with a series of (...) essay collections. These generate many requests for clarification from his readers, and stimulate him to reaffirm and sometimes refine his ideas, throwing substantive new light on his thought as he grapples with human issues of enduring importance. Berlin’s comments on world affairs, especially the continuing conflict between Israel and the Palestinians, and the collapse of Communism, are characteristically acute. This is also the era of the Northern Ireland Troubles, the Iranian revolution, the rise of Solidarity in Poland, the Chernobyl nuclear disaster, the fall of the Berlin Wall, Ayatollah Khomeini’s fatwa against Salman Rushdie, the spread of Islamic fundamentalism, and wars in the Falkland Islands, the Persian Gulf and the Balkans. Berlin scrutinises the leading politicians of the day, including Reagan, Thatcher and Gorbachev, and draws illuminating sketches of public figures, notably contrasting the personas of Alexander Solzhenitsyn and Andrey Sakharov. He declines a peerage, is awarded the Agnelli Prize for ethics, campaigns against philistine architecture in London and Jerusalem, helps run the National Gallery and Covent Garden, and talks at length to his biographer. He reflects on the ideas for which he is famous – especially liberty and pluralism – and there is a generous leavening of the conversational brilliance for which he is also renowned, as he corresponds with friends about politics, the academic world, music and musicians, art and artists, and writers and their work, always displaying a Shakespearean fascination with the variety of humankind. Affirming is the crowning achievement both of Berlin’s epistolary life and of the widely acclaimed edition of his letters whose first volume appeared in 2004. (shrink)