The progressive/hard rock band Rush has never been as popular as it is now. A documentary film about the band, Rush: Beyond the Lighted Stage, which was released in the summer of 2010 has been universally well received. They had a cameo in the movie I Love You Man. Their seven-part song "2112" was included in a version of "Guitar Hero" released in 2010. The group even appeared on The Colbert Report. And now this, a book about Rush written for a general audience and geared towards issues concerning popular culture and philosophy. There has been a recent explosion of Rush onto the popular culture front, and how ironic for a band that has spent the early days of their career on the outside of mainstream popularity. Even legendary trios such as Led Zeppelin, Cream, and The Police don't enjoy the commitment and devotion that Rush's fans lavish on Alex, Geddy, and Neil. In part, this is because Rush is equally devoted to its fans. Since their first album in 1974, they have released 18 additional albums and toured the world following nearly every release. Today, when other 70s-bands have either broken up or become nostalgia acts, Rush continues to sell out arenas and amphitheatres and sell albums--to date Rush has sold over 40 million albums. They are ranked fourth after The Beatles, The Rolling Stones, and Aerosmith for the most consecutive gold or platinum albums by a rock band. Rush and Philosophy does not set out to sway the public's opinion, nor is it an awkward gushing of how much the authors love Rush. Rush and Philosophy is a fascinating look at the music and lyrics of the band, setting out to address thought-provoking questions. For example, elements of philosophical thinking from the likes of Jean Paul-Sartre, Ayn Rand, and Plato can be found in Peart's lyrics; does this make Peart a disciple of philosophy? In what ways has technology influenced the band through the decades? Can there be too much technology for a power-trio? Can listening to Rush's music and lyrics lead listeners to think more clearly, responsibly, and happily? Is the band's music a "pleasant distraction" from the singing of Geddy Lee? In what ways is Rush Canadian? How can a band that has been referred to as "right-wing" also criticize big government, religion, and imperialism? Rush and Philosophy is written by an assortment of philosophers and scholars with eclectic and diverse backgrounds who love Rush's music and who "get" the meaning and importance of it. They discuss Rush with the enthusiasm of fans and the seriousness of college professors. The book will be a must-read for the many fans who have long known that Rush deserves as much respect as the ideas, concepts, and puzzles about human existence they write and compose music about.

This is Volume VIII of none in a studies in Ethics and the Philosophy of Religion. Originally published in 1969 and holds a collection of papers on talks to first year students not reading philosophy; science and questioning; and discussions on social engineering, politics and science as well as questions like 'where does the world come from?'

"...Treats fans to an unparalleled look back at the trio's twenty studio albums through the minds and ears of twenty musicians, Rush authorities, and fellow journalists." -back cover.

Canadian progressive rock band Rush was the voice of the suburban middle class. In this book, Chris McDonald assesses the band's impact on popular music and its legacy for legions of fans. McDonald explores the ways in which Rush's critique of suburban life—and its strategies for escape—reflected middle-class aspirations and anxieties, while its performances manifested the dialectic in prog rock between discipline and austerity, and the desire for spectacle and excess. The band's reception reflected the internal struggles of the middle class over cultural status. Critics cavalierly dismissed, or apologetically praised, Rush's music for its middlebrow leanings. McDonald's wide-ranging musical and cultural analysis sheds light on one of the most successful and enduring rock bands of the 1970s and 1980s.

Critical Theory constitutes one of the major intellectual traditions of the twentieth century, and is centrally important for philosophy, political theory, aesthetics and theory of art, the study of modern European literatures and music, the history of ideas, sociology, psychology, and cultural studies. In this volume an international team of distinguished contributors examines the major figures in Critical Theory, including Horkheimer, Adorno, Marcuse, Benjamin, and Habermas, as well as lesser known but important thinkers such as Pollock and Neumann. The volume surveys the shared philosophical concerns that have given impetus to Critical Theory throughout its history, while at the same time showing the diversity among its proponents that contributes so much to its richness as a philosophical school. The result is an illuminating overview of the entire history of Critical Theory in the twentieth century, an examination of its central conceptual concerns, and an in-depth discussion of its future prospects.

This wide-ranging collection of essays explores the nature of logic and the key issues and debates in the metaphysics of logic.

Few bands have proven as long-standing and experimental as the Canadian rock act Rush, which has successfully survived and adapted like few others by continuing to work in an album-oriented “progressive hard rock” style. Rush bridged its original blues-rock style with progressive rock and heavy metal in the 1970s, explored new wave and synth rock in the 1980s, and then created a new kind of alternative hard rock in the 1990s and 2000s. Throughout its career Rush has stubbornly remained musically and lyrically individualistic. The band created dozens of albums over its four decades—with 45 million sold—and embarked on major concert tours for millions of fans across the globe.The band’s music appeals not just to mainstream rock fans but to those musicians who admire the structural complexity of its music. In Experiencing Rush: A Listener’s Companion, music scholar Durrell Bowman guides readers through Rush’s long career, explaining through the artful combination of biography, history, and musical exegesis how to listen to this unique act. From Rush’s emergence as an early blues-rock power trio of guitar, bass, and drums into the godfathers of progressive hard rock, Bowman marks the band’s first breakthrough with its landmark, sci-fi/individualist album 2112. From there, readers explore Rush’s movement from “prog rock” extended compositions into shorter, potential-radio-play “post-prog” songs, leading to Rush’s most successful album Moving Pictures in 1981. In its later career, Rush adventurously mixed progressive hard rock and music technology, generating a new power trio sound that featured further stylistic evolutions. As Bowman makes clear, it is the band’s stalwart path and many influences on fans, musicians, and others that resulted in Rush’s induction into the Rock & Roll Hall of Fame in 2013. Rush is a legendary group, and Experiencing Rush is specially written for music fans seeking a deeper look into the band’s work, as well as for new listeners ready to discover the unique and diverse sound of one of rock’s greatest acts.

Irony and Idealism investigates the historical and conceptual structure of the development of a philosophically distinctive conception of irony in early- to mid-nineteenth century European philosophy. The principal figures treated are the romantic thinkers Friedrich Schlegel and Novalis, Hegel, and Kierkegaard. Fred Rush argues that the development of philosophical irony in this historical period is best understood as providing a way forward in philosophy in the wake of Kant and Jacobi that is discrete from, and many times opposed to, German idealism. Irony and Idealism argues, against the grain of received opinion, that among the German romantics Schlegel's conception of irony is superior to similar ideas found in Novalis. It also presents a sustained argument showing that historical reconsideration of Schlegel has been hampered by contestable Hegelian assumptions concerning the conceptual viability of romantic irony and by the misinterpretation of what the romantics mean by 'the absolute.' Rush argues that this is primarily a social-ontological term and not, as is often supposed, a metaphysical concept. Kierkegaard, although critical of the romantic conception, deploys his own adaptation of it in his criticism of Hegel, continuing, and in a way completing, the arc of irony through nineteenth-century philosophy. The book concludes by offering suggestions meant to guide contemporary reconsideration of Schlegel's and Kierkegaard's views on the philosophical significance of irony.

In 1933 Ludwig Wittgenstein revised a manuscript he had compiled from his 1930-1932 notebooks, but the work as a whole was not published until 1969, as Philosophische Grammatik. This first English translation clearly reveals the central place Philosophical Grammar occupies in Wittgenstein's thought and provides a link from his earlier philosophy to his later views.