This is the fi rst work devoted to an expositi on on Daoist metaphysics and presenti ng Dao as a feminine principle. The work should be of interest to scholars and general readers in many disciplines: Comparati ve philosophy, religious studies, metaphysics, Asian studies, Chinese studies... etc.

In this timely and essential book that offers a fresh take on the qualms of modern day life, Professor Alan Lightman investigates the creativity born from allowing our minds to freely roam, without attempting to accomplish anything and without any assigned tasks. We are all worried about wasting time. Especially in the West, we have created a frenzied lifestyle in which the twenty-­four hours of each day are carved up, dissected, and reduced down to ten minute units of efficiency. We take our iPhones and laptops with us on vacation. We check email at restaurants or our brokerage accounts while walking in the park. When the school day ends, our children are overloaded with “extras.” Our university curricula are so crammed our young people don’t have time to reflect on the material they are supposed to be learning. Yet in the face of our time-driven existence, a great deal of evidence suggests there is great value in “wasting time,” of letting the mind lie fallow for some periods, of letting minutes and even hours go by without scheduled activities or intended tasks. Gustav Mahler routinely took three or four-­hour walks after lunch, stopping to jot down ideas in his notebook. Carl Jung did his most creative thinking and writing when he visited his country house. In his 1949 autobiography, Albert Einstein described how his thinking involved letting his mind roam over many possibilities and making connections between concepts that were previously unconnected. With In Praise of Wasting Time, Professor Alan Lightman documents the rush and heave of the modern world, suggests the technological and cultural origins of our time-­driven lives, and examines the many values of “wasting time”—for replenishing the mind, for creative thought, and for finding and solidifying the inner self. Break free from the idea that we must not waste a single second, and discover how sometimes the best thing to do is to do nothing at all.

Why do we keep playing the lottery when we know we’ll lose? How does what we laugh at—those bad jokes, wry allusions, and nasty pratfalls—tell us who we are? And what happens when, through some unforeseen mishap, we lose our identities and become Jane or John Doe? Eric LeMay explores these and other questions in fifteen innovative essays that center on the American self. From reflections on small-town life and baby-making to meditations on found art, 19th century landscape gardens, webcams, and the emergence of the AIDS pandemic, these essays celebrate the layered selves we inhabit, inherent, and sometime invent. With humor and with reverence, In Praise of Nothing beholds what Wallace Stevens has called the “nothing that is not there and the nothing that is.”

Verzamelde opstellen van de Engelse wijsgeer (1872-1970)

Shells, leafwork, picture frames, hummingbirds, wallpaper decorations, hems of clothing—such are the examples Kant's Critique of Judgment offers for a "free" and purely aesthetic beauty. Menninghaus's book demonstrates that all these examples refer to a widely unknown debate on the arabesque and that Kant, in displacing it, addresses genuinely "modern" phenomena. The early Romantic poetics and literature of the arabesque follow and radicalize Kant's move. Menninghaus shows parergonality and "nonsense" to be two key features in the spread of the arabesque from architecture and the fine arts to philosophy and finally to literature. On the one hand, comparative readings of the parergon in Enlightenment aesthetics, Kant, and Schlegel reveal the importance of this term for establishing the very notion of a self-reflective work of art. On the other hand, drawing on Kant's posthumous anthropological notebooks, Menninghaus extrapolates an entire Kantian theory of what it means to produce nonsense and why the Critique of Judgment defines genius precisely through the power (as well as the dangers) of doing so. Ludwig Tieck's 1797 rewriting of Charles Perrault's famous Bluebeard tale (1697) explicitly claims to be an "arabesque" book "without any sense and coherence." Menninghaus's close reading of this capricious narrative reveals a specifically Romantic—as opposed, say, to a Victorian or dadaistic—type of nonsense. Benjamin's as well as Propp's, Lévi-Strauss's, and Meletinskij's oppositions of myth and fairy tale lend additional credit to a Romantic poetics that inaugurates "universal poetry" while performing a bizarre trajectory through arabesque ornament, nonsense, parergonality, and the fairy tale.

An ethnological and sociological reflection is lead by Professor Döpp on this fascinating matter that brings to the most incongruous revelations. Beyond our cultural and religious upbringings, women and men pursue their fantasies, which the author tries to unravel with the rigour of a scientist for the pleasure of our eyes and of our mind.

“A welcome antidote to our toxic hustle culture of burnout.”—Arianna Huffington “This book is so important and could truly save lives.”—Elizabeth Gilbert “A clarion call to work smarter [and] accomplish more by doing less.”—Adam Grant We work feverishly to make ourselves happy. So why are we so miserable? Despite our constant search for new ways to optimize our bodies and minds for peak performance, human beings are working more instead of less, living harder not smarter, and becoming more lonely and anxious. We strive for the absolute best in every aspect of our lives, ignoring what we do well naturally and reaching for a bar that keeps rising higher and higher. Why do we measure our time in terms of efficiency instead of meaning? Why can’t we just take a break? In Do Nothing, award-winning journalist Celeste Headlee illuminates a new path ahead, seeking to institute a global shift in our thinking so we can stop sabotaging our well-being, put work aside, and start living instead of doing. As it turns out, we’re searching for external solutions to an internal problem. We won’t find what we’re searching for in punishing diets, productivity apps, or the latest self-improvement schemes. Yet all is not lost—we just need to learn how to take time for ourselves, without agenda or profit, and redefine what is truly worthwhile. Pulling together threads from history, neuroscience, social science, and even paleontology, Headlee examines long-held assumptions about time use, idleness, hard work, and even our ultimate goals. Her research reveals that the habits we cling to are doing us harm; they developed recently in human history, which means they are habits that can, and must, be broken. It’s time to reverse the trend that’s making us all sadder, sicker, and less productive, and return to a way of life that allows us to thrive.

What is truth in the postmodern age? The artistic generation of the twentieth century has grown up immersed in the delirious imagination of postmodern thought, which insists upon the ultimate uncertainty of meaning and that there is no self-evident truth. In Praise of Nonsense explores the possibilities and parameters of a postmodern imagination freed from the philosophical responsibilities of fiction, fact, and replication of lived experience. Mobilizing an array of scholars and contemporary artists, this study examines postmodern thinking through the lenses of identity and visual culture. Speculative, critical, and always creative in its approach, In Praise of Nonsense focuses on theories of disappearance, irony, and nonsense, where the pleasures of the imaginary give rise to artistic inspiration. When truth is unhinged, so is falsity, and all artistic thinking is called into question. Ted Hiebert takes on the ambitious project of holding postmodernism accountable for its own conclusions while also considering how those conclusions might still be given philosophical and artistic form.

"A cool, comic survey of the sexual education of a young Hungarian, from his first encounter, as a twelve-year-old refugee with the American forces, to his unsatisfactory liaison with a reporter's wife in Canada at the belated end of his youth, when he was twenty-three . . . elegantly erotic, with masses of that indefinable quality, style . . . this has the real stuff of immortality."—B. A. Young, Punch "A pleasure. Vizinczey writes of women beautifully, with sympathy, tact and delight, and he writes about sex with more lucidity and grace than most writers ever acquire."—Larry McMurtry, Houston Post "Like James Joyce, who was as far from being a writer of erotica as Dostoevsky, Vizinczey has a refreshing message to deliver: Life is not about sex, sex is about life."—John Podhoretz, Washington Times "The gracefully written story of a young man growing up among older women . . . although some passages may well arouse the reader, this novel brims with what the courts have termed "redeeming literary merit."—Clarence Petersen, Chicago Tribune "A funny novel about sex, or rather (which is rarer) a novel which is funny as well as touching about sex . . . elegant, exact and melodious—has style, presence and individuality."—Isabel Quigly, Sunday Telegraph "The delicious adventures of a young Casanova who appreciates maturity while acquiring it himself. In turn naive, sophisticated, arrogant, disarming, the narrator woos his women and his tale wins the reader."—Polly Devlin, Vogue

The conventional wisdom about historical memory is summed up in George Santayana’s celebrated phrase, “Those who cannot remember the past are condemned to repeat it.” Today, the consensus that it is moral to remember, immoral to forget, is nearly absolute. And yet is this right? David Rieff, an independent writer who has reported on bloody conflicts in Africa, the Balkans, and Central Asia, insists that things are not so simple. He poses hard questions about whether remembrance ever truly has, or indeed ever could, “inoculate” the present against repeating the crimes of the past. He argues that rubbing raw historical wounds—whether self-inflicted or imposed by outside forces—neither remedies injustice nor confers reconciliation. If he is right, then historical memory is not a moral imperative but rather a moral option—sometimes called for, sometimes not. Collective remembrance can be toxic. Sometimes, Rieff concludes, it may be more moral to forget. Ranging widely across some of the defining conflicts of modern times—the Irish Troubles and the Easter Uprising of 1916, the white settlement of Australia, the American Civil War, the Balkan wars, the Holocaust, and 9/11—Rieff presents a pellucid examination of the uses and abuses of historical memory. His contentious, brilliant, and elegant essay is an indispensable work of moral philosophy.