Offering a new approach to the intersection of literature and philosophy, Modernist Idealism contends that certain models of idealist thought require artistic form for their full development and that modernism realizes philosophical idealism in aesthetic form. This comparative view of modernism employs tools from intellectual history, literary analysis, and philosophical critique, focusing on the Italian reception of German idealist thought from the mid-1800s to the Second World War. Modernist Idealism intervenes in ongoing debates about the nineteenth- and twentieth-century resurgence of materialism and spiritualism, as well as the relation of decadent, avant-garde, and modernist production. Michael J. Subialka aims to open new discursive space for the philosophical study of modernist literary and visual culture, considering not only philosophical and literary texts but also early cinema. The author’s main contention is that, in various media and with sometimes radically different political and cultural aims, a host of modernist artists and thinkers can be seen as sharing in a project to realize idealist philosophical worldviews in aesthetic form.

Modernist Idealism develops a framework for understanding modernist production as the artistic realization of philosophical concepts elaborated in German idealism.

In this volume Robert Pippin disputes many traditional characterisations of the distinctiveness of modern philosophy.

Henrik Ibsen (1828-1906) is the founder of modern theater, and his plays are performed all over the world. Yet in spite of his unquestioned status as a classic of the stage, Ibsen is often dismissed as a fuddy-duddy old realist, whose plays are of interest only because they remain the gateway to modern theater. In Henrik Ibsen and the Birth of Modernism , Toril Moi makes a powerful case not just for Ibsen's modernity, but for his modernism. Situating Ibsen in his cultural context, she shows how unexpected his rise to world fame was, and the extent of his influence on writers such Shaw, Wilde, and Joyce who were seeking to escape the shackles of Victorianism. Henrik Ibsen and the Birth of Modernism also rewrites nineteenth-century literary history; positioning Ibsen between visual art and philosophy, the book offers a critique of traditional theories of the opposition between realism and modernism. Modernism, Moi argues, arose from the ruins of idealism, the dominant aesthetic paradigm of the nineteenth century. She also shows why Ibsen still matters to us today, by focusing on two major themes-his explorations of women, men, and marriage and his clear-eyed chronicling of the tension between skepticism and the everyday. This radical new account places Ibsen in his rightful place alongside Baudelaire, Flaubert, and Manet as a founder of European modernism.

Henrik Ibsen (1828-1906) is the founder of modern theater, and his plays are performed all over the world. Yet in spite of his unquestioned status as a classic of the stage, Ibsen is often dismissed as a boring old realist, whose plays are of interest only because they remain the gateway to modern theater. In Henrik Ibsen and the Birth of Modernism, Toril Moi makes a powerful case not just for Ibsen's modernity, but also for his modernism. Henrik Ibsen and the Birth of Modernism situates Ibsen in his cultural context, emphasizes his position as a Norwegian in European culture, and shows how important painting and other visual arts were for his aesthetic education. The book rewrites literary history, reminding modern readers that idealism was the dominant aesthetic paradigm of the nineteenth century. Modernism was born in the ruins of idealism, Moi argues, thus challenging traditional theories of the opposition between realism and modernism. By reading Ibsen's modernist plays as investigations of the fate of love in an age of skepticism, Moi shows why Ibsen still matters to us. In this book, Ibsen's plays are showed to be profoundly concerned by theater and theatricality, both on stage and in everyday life. Ibsen's unsettling explorations of women, men and marriage here emerge as chronicles of the tension between skepticism and the everyday, and between critique and utopia in modernity. This radical new account places Ibsen in his rightful place alongside Baudelaire, Flaubert and Manet as a founder of European modernism.

Winner: 2012 The American Publishers Award for Professional and Scholarly Excellence in Theology and Religious Studies, PROSE Award. In this thought-provoking new work, the world renowned theologian Gary Dorrien reveals how Kantian and post-Kantian idealism were instrumental in the foundation and development of modern Christian theology. Presents a radical rethinking of the roots of modern theology Reveals how Kantian and post-Kantian idealism were instrumental in the foundation and development of modern Christian theology Shows how it took Kant's writings on ethics and religion to launch a fully modern departure in religious thought Dissects Kant's three critiques of reason and his moral conception of religion Analyzes alternative arguments offered by Schleiermacher, Schelling, Hegel, and others - moving historically and chronologically through key figures in European philosophy and theology Presents notoriously difficult and intellectual arguments in a lucid and accessible manner

Vols. 2-6 include "Theological and Semitic literature for 1898- 1901, a bibliographical supplement to the American journal of theology and the American journal of Semitic languages and literatures. By W. Muss-Arnolt." (Separately paged)

Vols. 2-6 include "Theological and Semitic literature for 1898-1901, a bibliographical supplement to the American journal of theology and the American journal of Semitic languages and literatures. By W. Muss-Arnolt." (Separately paged)