Includes: Gunther Anders, "Victims of Aggression"; Hannah Arendt, "From the Life of the Mind"; Ernst Bloch, "On Fine Arts in the Machine Age, From "The Principle of Hope"; Karl Jaspers, "Existential Philosophy"; Albert Schweitzer, "Philosophy of Civilization"; Karl R. Popper, "An Optimistic View of Our Age"; Ludwig Wittgenstein, From "Philosophical Investigations"; and more.

Includes selections from Krauss's The Last Days of Mankind and Aphorisms, Bloch's The Anarchist, Canetti's Crowds and Power and Auto-da-Fe, and Walser's Jakob von Gunten .

Edith Stein is widely known as a historical figure, a victim of the Holocaust and a saint, but still unrecognised as a philosopher. It was philosophy, however, that constituted the core of her life. Today her complete writings are available to scholars and therefore her thinking can be properly investigated and evaluated. Who is a human person? And what is his or her dignity according to Edith Stein? Those are the two leading questions investigated in this volume. The answer is presented based on the complete writings of the 20th-c. phenomenologist and, moreover, compared to the traditional Christian understanding of human dignity present in the writings of the Church Fathers and the Doctors of the Church as well as Magisterial Documents of the Catholic Church. In the final parts of the book, the author shows how Stein's ideas are relevant today, in particular to the ongoing doctrinal and legal debates over the concept of human dignity.

This book is both a telling of operatic histories 'after' Richard Wagner, and a philosophical reflection upon the writing of those histories. Historical musicology reckons with intellectual and cultural history, and vice versa. The 'after' of the title denotes chronology, but also harmony and antagonism within a Wagnerian tradition. Parsifal, in which Wagner attempted to go beyond his achievement in the Ring, to write 'after' himself, is followed by two apparent antipodes: the strenuously modernist Arnold Schoenberg and the stheticist Richard Strauss. Discussion of Strauss's Capriccio, partly in the light of Schoenberg's Moses und Aron, reveals a more 'political' work than either first acquaintance or the composer's 'intention' might suggest. Then come three composers from subsequent generations: Luigi Dallapiccola, Luigi Nono, and Hans Werner Henze. Geographical context is extended to take in Wagner's Italian successors; the problem of political emancipation in and through music drama takes another turn here, confronting challenges and opportunities in more avowedly 'politically engaged' art. A final section explores the world of staging opera, of so-called Regietheater, as initiated by Wagner himself. Stefan Herheim's celebrated Bayreuth production of Parsifal, and various performances of Lohengrin are discussed, before looking back to Mozart (Don Giovanni) and forward to Alban Berg's Lulu and Nono's Al gran sole carico d'amore. Throughout, the book invites us to consider how we might perceive the sthetic and political integrity of the operatic work 'after Wagner'. After Wagner will be invaluable to anyone interested in twentieth-century music drama and its intersection with politics and cultural history. It will also appeal to those interested in Richard Wagner's cultural impact on succeeding generations of composers. MARK BERRY is Senior Lecturer in Music at Royal Holloway, University of London.

An analysis of how female criminals were perceived both in the legal sphere and in general culture.

Drawing on the latest European Research on Meister Eckhart since 1970, the volume provides a comprehensive rereading of the Life, Works, Career, Trial of Meister Eckhart. Central Philosophical ideas and sources with an account of his preaching, teaching and the reception of his work from the 14th to the 21st century.