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Religion scholar Huston Smith called Frithjof Schuon “the most important religious thinker of [the 20th] century.” In the first section of this revised edition of his classic work, Schuon provides striking insights to age-old religious and philosophical controversies such as the problem of evil, predestination and free will, and the meaning of eternity in heaven and hell. In the second section, Schuon masterfully harmonizes the divergent theological claims of the three main branches of Christianity—Orthodoxy, Catholicism, and Protestantism—in the light of universal metaphysical truth. The final section contains several chapters relating to Islamic esoterism and concludes with a remarkable chapter on the spiritual substance of the Prophet. This new edition contains 60 pages of completely new material, including a fully revised translation from the French original and previously unpublished selections from Schuon’s letters and other private writings. Also included are editor’s notes, a glossary, and an index.
The first book to focus on the solo residential work of the visionary interior decorator Stephen Sills. Simultaneously classical and modern, Stephen Sills’s design work is a dialogue between past and present. Filled with luxurious fabrics, furnishings from across centuries, and unusual finishes, his work is polished, seemingly effortless, and quietly rich, with a muted color palette that serves as a brilliant foil for modern art. In this striking, meditative volume, the follow-up to his best-selling book Dwellings, Sills presents sixteen breathtaking homes, gorgeously photographed by the legendary François Halard, in locations as varied as a penthouse on Manhattan’s Fifth Avenue, a modern Aspen retreat, an estate on the North Shore of Long Island, and his own country house in Bedford, New York (dubbed the "chicest house in America" by Karl Lagerfeld). Common to them all is a sense of atmosphere, point of view, and soul—the sense of a master craftsman at work.
This is a collection of brief passages which focus on the spiritual life, including such simple and concrete aspects as the nature of faith and our relationship with God, the importance of prayer, the meaning of virtue, and the significance of beauty in our lives.
Schuon's articles on the relationship between Christianity and Islam have profound implications in the field of inter-religious dialogue. Several thought-provoking chapters shed light, from an inward dimension, upon the apparent outward contradictions between these two religions, notably in the field of moral divergences. This new edition is a fully revised translation of the original French edition and contains an extensive new Appendix with previously unpublished selections from his letters and other private writings.
"This revised and expanded edition contains a new translation; an editor's preface by James S. Cutsinger; an appendix of selections from letters and other previously unpublished writings; editor's notes; a glossary and index; and biographical notes."--BOOK JACKET.
Frithjof Schuon (1907-1998), the author of more than 25 books on religion and spirituality, is the foremost representative of the "Perennialist" or "Traditionalist" school of comparative religious thought. This new edition of Logic and Transcendence, his most important philosophical work, is a fully revised translation from the French original and contains:
What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music's essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths. The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art. Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music's effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.

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