Monumental epic poem tells the heroic story of Aeneas, a Trojan who escaped the burning ruins of Troy to found Lavinium, the parent city of Rome, in the west.

Once upon a time, anthropology had something to offer philosophy. It was a time when Continential thinkers drew on anthropology's theoretical terms—mana, taboo, potlatch—in order to reflect on the limits of human belief and imagination. Among these philosophic dialogues with anthropology, we find Ludwig Wittgenstein's Remarks on Sir James Frazer's magnum opus, The Golden Bough. Now, Hau Books brings you the first translation by an anthropology—Stephan Palmié—of this masterpiece. Wittgenstein's remarks on ritual, magic, religion, belief, ceremony, and Frazer's own logical presuppositions are as lucid and thought-provoking now as they were over half-a-century ago. Anthropologists find themselves repeating many of Wittgenstein's same questions and confronting similar doubts today: Is metaphysics a kind of magic? What do we call “ritual”? Are humans simply “ceremonial animals”? This book is not only a fresh translation, but a fresh set of engagements with Wittgenstein's ideas from some of the world's most brilliant anthropologists. Contributors include: David Graeber, Veena Das, Michael Lambek, Heonik Kwon, Carlo Severi, Michael Taussig, Wendy James, Giovanni da Col, and Michael Puett. Here is a unique and well-overdue discussion of the mythologies in our language. Taking interdisciplinarity seriously, this volume returns to the ethnographic imagination that made great thinkers like Sigmund Freud, Jean-Paul Sartre, and indeed Ludwig Wittgenstein take heed—and returns the favor to the philosophical tradition that found wonder and pause for thought in the anthropological canon.

Magic has been an important term in Western history and continues to be an essential topic in the modern academic study of religion, anthropology, sociology, and cultural history. Defining Magic is the first volume to assemble key texts that aim at determining the nature of magic, establish its boundaries and key features, and explain its working. The reader brings together seminal writings from antiquity to today. The texts have been selected on the strength of their success in defining magic as a category, their impact on future scholarship, and their originality. The writings are divided into chronological sections and each essay is separately introduced for student readers. Together, these texts - from Philosophy, Theology, Religious Studies, and Anthropology - reveal the breadth of critical approaches and responses to defining what is magic. CONTRIBUTORS: Aquinas, Augustine, Helena Petrovna Blavatsky, Dennis Diderot, Emile Durkheim, Edward Evans-Pritchard, James Frazer, Susan Greenwood, Robin Horton, Edmund Leach, Gerardus van der Leeuw, Christopher Lehrich, Bronislaw Malinowski, Marcel Mauss, Agrippa von Nettesheim, Plato, Pliny, Plotin, Isidore of Sevilla, Jesper Sorensen, Kimberley Stratton, Randall Styers, Edward Tylor

A postmodern masterpiece about fraud and forgery by one of the most distinctive, accomplished novelists of the last century. The Recognitions is a sweeping depiction of a world in which everything that anyone recognizes as beautiful or true or good emerges as anything but: our world. The book is a masquerade, moving from New England to New York to Madrid, from the art world to the underworld, but it centers on the story of Wyatt Gwyon, the son of a New England minister, who forsakes religion to devote himself to painting, only to despair of his inspiration. In expiation, he will paint nothing but flawless copies of his revered old masters—copies, however, that find their way into the hands of a sinister financial wizard by the name of Recktall Brown, who of course sells them as the real thing. Dismissed uncomprehendingly by reviewers on publication in 1955 and ignored by the literary world for decades after, The Recognitions is now established as one of the great American novels, immensely ambitious and entirely unique, a book of wild, Boschian inspiration and outrageous comedy that is also profoundly serious and sad.