Imagination and Postmodernity addresses the role of the imagination in philosophy today. By focusing on philosophy at the boundary of reason with constant reference to Kant’s view of the boundary-limit, it is possible to advance a viable alternative to deconstructing the imagination. Patrick L. Bourgeois puts forth the claim that by refocusing the imagination in the postmodern conversation, a far-reaching contemporary position can be reached that reestablishes the position of the humanities as central against the anti-humanism of deconstruction. This work addresses some of the challenges and problems that emerge in conflicting positions within contemporary philosophy, including a concentration on the role of the imagination in the work of Paul Ricoeur in contrast and in opposition to its role in such postmodern thinkers as Derrida and Lyotard. This treatment requires going back to the role of the imagination in the period of Kant and his immediate followers in order to clarify the various ways of seeing the imagination then and now, for the role today is anticipated in the nineteenth century. Finally, this work, as a creative appropriation of the position of Paul Ricoeur, presents a role for the imagination today that is more encompassing than most thinkers allow for.

Through the lens of science fiction, this book investigates representations of time in postmodernism.

With his remarkable range of vision, the author takes us on a voyage of discovery that leads from Eden to Fellini, from paradise to parody - plotting the various models of the imagination as: Hebraic, Greek, medieval, Romantic, existential and post-modern.

This redesigned, re-edited, illustrated new edition of the classic study "Postmodern Heretics: The Catholic Imagination in Contemporary Art" challenges conventional wisdom about the relationship of contemporary art and religion. It explores the Catholic roots of controversial artists and the impact of Catholicism on the 1990s Culture Wars.

Apocalyptic Transformation explores how one the oldest sense-making paradigms, the apocalyptic myth, is altered when postmodern authors and filmmakers adopt it. It examines how postmodern writers adapt a fundamentally religious story for a secular audience and it proposes that even as these writers use the myth in traditional ways, they simultaneously undermine and criticize the grand narrative of apocalypse itself.

The geographical imagination is increasingly recognized as a critical component in contemporary American culture. In this original, interdisciplinary study, Brian Jarvis offers an examination of "new geography" and "mapping the boy," alongside a critique of dominant definitions of postmodernism. Postmodern Cartographies explores spatial representation in a range of texts from social sciences, prose fiction and cinema. It surveys the geography of post-industrial society as advance in the work of Daniel Bell, Marshal McLuhan and Jean Baudrillard; analyzes representations of space in novels by Thomas Pynchon, Paul Auster, Jayne Anne Phillips and Toni Morrison; and, in a key third section, examines sexual politics and body images in science fiction cinema and the films of David Lynch. Jarvis demonstrates an essential continuity between the geographical imagination expressed in so-called postmodern culture and that evident in previous phases in the history of spatial representation.

Old assumptions - rational, objectivist, absolutist - have for the most part given way to new outlooks, which can be grouped under the term postmodern. What does this new situation imply for the church and for Christian proclamation? Can one find in this new situation opportunity as well as dilemma? How can central biblical themes - self, world, and community - be interpreted and imagined creatively and concretely in this new context? Our task, Brueggemann contends, is not to construct a full alternative world, but rather to fund - to provide the pieces, materials, and resources out of which a new world can be imagined. The place of liturgy and proclamation is "a place where people come to receive new materials, or old materials freshly voiced, which will fund, feed, nurture, nourish, legitimate, and authorize a counterimagination of the world". Six exegetical examples of such a new approach to the biblical text are included.

Ernst Bloch (1885–1977) is now recognized as a philosopher and cultural critic of the greatest importance, his subtle and profound developments of utopian Marxism as influential for the student New Left of the 1960s and 1970s as they were for the leftist movements of the twenties. Today, in the United States and Britain, his enormous body of work is attracting a new generation of readers: more translations are appearing, and his utopian thought is finding a new resonance in many different contexts. Several of the authors here address the centrality of a radically unconventional concept of utopia to Bloch's thought; others write on the question of memory and pedagogical theory. There is a Blochian reading of crime fiction, illuminating overviews of Bloch's work and an exploration of the stylistics of hope in Bloch's Spuren, as well as a translation of excerpts from that extraordinary book. The essays gathered are intended, above all, to recommend Bloch's work as a challenge to older models of historical materialism and utopian emancipation, and give specific examples of how that work can contribute to current debates about utopia, nationalism and collective memory, the liberatory content of popular cultural forms, and the complex relationship between ideology and everyday life. Together they provide a timely introduction to one of the most inspiring thinkers of the twentieth century. Contributors include: Klaus Berghahn, Tim Dayton, Vincent Geoghagan, Henry Giroux, David Kaufmann, Mary Layoun, Ruth Levitas, Peter McLaren, Tom Moylan, Darko Suvin and Jack Zipes.

Richard Kearney has produced a new and revised paperback edition of his classic book Poetics of Imagining. This volume offers an accessible account of the major theories of imagination in modern European thought. It analyses and assesses the decisive contributions made to our understanding of the imaginary life of phenomenology (Husserl, Sartre, Merleau-Ponty, Bachelard), hermeuneutics (Heidegger, Ricoeur) and post-modernism (Vattimo, Kristeva, Lyotard). Richard Kearney achieves this with a coherent and committed approach which displays his own passionate concern for the claims of imagination in our post-modern world of fragmentation and fracture.