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This book offers a major reassessment of Leibniz's metaphysics. Christia Mercer has exposed the underlying doctrines of Leibniz's philosophy. By analysing Leibniz's early works she demonstrates that the metaphysics of pre-established harmony developed many years earlier than previously believed and for reasons which have not been understood. As a result of this analysis she has unearthed a philosophical school that Leibniz scholars have not recognized. A much deeper understanding of some of Leibniz's key doctrines emerges. Moreover, since the Leibniz that is revealed here does not fit neatly into the standard accounts of the history of philosophy and science, Christia Mercer's study will prompt scholars to reconsider their basic assumptions about early modern philosophy and science.
A Companion to Nietzsche provides a comprehensive guide to all the main aspects of Nietzsche's philosophy, profiling the most recent research and trends in scholarship. Brings together an international roster of both rising stars and established scholars, including many of the leading commentators and interpreters of Nietzsche. Showcases the latest trends in Nietzsche scholarship, such as the renewed focus on Nietzsche’s philosophy of time, of nature, and of life. Includes clearly organized sections on Art, Nature, and Individuation; Nietzsche's New Philosophy of the Future; Eternal Recurrence, the Overhuman, and Nihilism; Philosophy of Mind; Philosophy and Genealogy; Ethics; Politics; Aesthetics; Evolution and Life. Features fresh treatments of Nietzsche’s core and enigmatic doctrines.
What is the purpose of theology for the church? Systematic theology provides an inroad into this question by offering both a method for doing theology and an explanation for the purpose of that method. However, system is itself the product of a specific understanding of knowledge grounded in rational demonstration of facts. This study attempts to address the historical debate over when systematic theology began. Much of the debate is centered on the definition of system and revolves around the use, or lack thereof, of external philosophical categories or language. Specific historical figures have been selected to serve as illustrations of how theological prolegomena functioned in works prior to and following the influence of Enlightenment thought. In the early chapters it will be seen that theology was neither totally saturated with, nor totally devoid of, external philosophical reference points or programmatic intentions. On the contrary, both external points of reference and programmatic intentions have played a role in theology since the church's inception. In other words, certain elements of system (e.g., logic, non-contradiction, organization) have played a role in theological investigation and construction since, at least, the second century. The last two chapters of this study demonstrate that these may not be the same influences that have marked post-Enlightenment systematics. One of the primary characteristics of pre-Enlightenment theology is its intentional focus on the life of the church. Theology, like the Scriptures, was often written for specific circumstances. Enlightenment influences significantly changed the intentions of much of theology in that theological knowledge was studied and displayed for the sake of knowledge itself. The church no longer mattered, or was at best an afterthought, in the realm of what is now seen as the domain of academic theology.
No study of modern theater is complete without a thorough understanding of the enormous influence of visionary genius Edward Gordon Craig. Born in England in 1872, Craig went on to become famous world-wide as an actor, manager, director, playwright, designer, and most importantly an author and theorist, whose books were translated into German, Russian, Japanese, Dutch, Hungarian, and Danish. Although an essential parallel to the European avant-garde, Craig was often read as "exceptional" and highly innovative in his native Britain, thus, The Mask not only appears as Craig's main cosmopolitan project but also at times functions as a surrogate stage for his experiments in theater practice. The book has a comprehensive chronology, extensive notes and a bibliography making it an essential text for undergraduates, postgraduates, actors, theatre professionals, designers, directors, researchers and writers in the fields of theatre studies (especially theater set and lighting) and theater history.
Is hope an attitude of wishful thinking or is it a volitional appropriation of what is to come? What does it mean to believe in a divine promise, anticipating but not experiencing its fulfillment? Theology of Anticipation responds to these questions with a constructive study of C. S. Peirce's philosophy. It explores Peirce's strong but ambiguous links to the tradition of 19th century classical German philosophy and the unique way he resurrected this tradition's theoretical content in the American context. Then introducing Wolfhart Pannenberg's philosophical theology of anticipation in a discussion of Peirce's epistemological application of the theory of abduction, Anette Ejsing reads these two in light of each other, with the goal of proposing a Peircean theology of anticipation. With this proposal, she offers a new model for how both rational inquirers and believing theologians can take for real in the present what belongs permanently to the future. This model describes the human pursuit of cognitive as well as personal fulfillment (of understanding and meaning) as anchored in a promise of fulfillment, which makes it an expression of anticipatory hope. Considering Peirce's religious writings of systematic importance for his philosophy, Theology of Anticipation offers critical comments to two existing interpretations of Peirce's philosophy of religion: Michael L. Raposa's theosemiotic and Robert S. Corrington's Peircean theology of divine potentialities.

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