A new 2024 translation of Heidegger's early work "The Time of the World Image" (original German "Die Zeit des Weltbildes"), which is one of the 6 major essays of the work "Holzwege" originally published in 1914. This edition contains a new afterword by the Translator, a timeline of Heidegger's life and works, a philosophic index of core Heideggerian concepts and a guide for Existentialist terminology across 19th and 20th century Existentialists. This translation is designed for readability and accessibility to Heidegger's enigmatic and dense philosophy. Complex and specific philosophic terms are translated as literally as possible and academic footnotes have been removed to ensure easy reading. Heidegger here explores Worldviews, focusing on Life-Views. He focuses on the transformation in the way the world is understood and represented in modernity. Heidegger examines the concept of the "world picture," which means more than a mere image of the world; it means a world that has been conceived and grasped as an image. This transformation leads to a fundamental change in the relationship between human beings and their world that underlies modern science, technology, and the understanding of being itself. Heidegger also comments on the origins of Nihilism, although he provides no antidote to the "renunciation of all values". The collection this paper comes from, Holzwege, is second only to "Being and Time" in fame. Here he levies some of his most perceptive commentary on Hegel, Descartes, Nietzsche, Anaximander, Rilke, and Hölderlin. Wood Paths consists of a collection of essays that reflect on philosophical and existential questions through the analysis of art, poetry, and history. The original German title "Holzwege" refers to the logging paths in German forests, which anyone who's hiked in Germany knows are always dead-ends. Hence, this is sometimes translated as "dead ends" or "logging roads" or "Off the Beaten Track" or something along those lines, as this is what the title means- the dead end trails of philosophy and the inherent obscurity of the pursuit of Being. Heidegger uses these essays to explore his ontological inquiries, particularly the nature of being and the relationship between human beings and the world around them.

The five-volume series was designed for the World Exposition Expo 2000 in Hanover, Germany to contribute to the dialogue of the world religions. After an introduction to the conflict of religion and the mission of a philosophy of the world religions, scholars of philosophy and religion from the east and west ring the three themes through the perspectives of Hinduism, Buddhism, Judaism, Christianity, and Islam. The 12 talks were presented to the first discourse, in Emden, German in September 1999. There is no subject index. Annotation copyrighted by Book News, Inc., Portland, OR

One of the most controversial issues that divided Islamic philosophers and theologians during the Middle Ages was whether human beings would have a spiritual or bodily existence after death. The idea of a world of image was conceived as a solution, suggesting that there exists a world of non-physical (imagined) bodies, beyond our earthly existence. This world may be reached in sleep, in meditation or after death.From the embryonic conception by Ibn Sina, to the radical rethinking by Suhrawardi and Shahrazuri into a sophisticated system, L. W. C. van Lit unravels the history of this idea. Using a distant reading approach for measuring the transmission, he further shows how the idea remained relevant for Muslim thinkers through the centuries, up until today.

The Image of Christ in Modern Art explores the challenges presented by the radical and rapid changes of artistic style in the 20th century to artists who wished to relate to traditional Christian imagery. In the 1930s David Jones said that he and his contemporaries were acutely conscious of ’the break’, by which he meant the fragmentation and loss of a once widely shared Christian narrative and set of images. In this highly illustrated book, Richard Harries looks at some of the artists associated with the birth of modernism such as Epstein and Rouault as well as those with a highly distinctive understanding of religion such as Chagall and Stanley Spencer. He discusses the revival of confidence associated with the rebuilding of Coventry Cathedral after World War II and the commissioning of work by artists like Henry Moore, Graham Sutherland and John Piper before looking at the very testing last quarter of the 20th century. He shows how here, and even more in our own time, fresh and important visual interpretations of Christ have been created both by well known and less well known artists. In conclusion he suggests that the modern movement in art has turned out to be a friend, not a foe of Christian art.Through a wide and beautiful range of images and insightful text, Harries explores the continuing challenge, present from the beginning of Christian art, as to how that which is visual can in some way indicate the transcendent.

Mass Moralizing: Marketing and Moral Storytelling examines the narratives of today’s brand marketing, which largely focuses on creating an emotional attachment to a brand rather than directly promoting a product’s qualities or features. Phil Hopkins explores these narratives’ influence on how we think about ourselves and our moral possibilities, our cultural ideas about morality, and our relations to each other. He closely studies the relationship between three interrelated dynamics: the power of narrative in the construction of identity and world, the truth-telling pretenses of mass marketing, and the growth of moralizing as the primary moral discourse practice in contemporary consumer culture. Mass Moralizing scrutinizes the way marketing speaks to us in explicitly moralistic terms, significantly influencing how we think about ourselves and our moral possibilities.

Although contemporary art may sometimes shock us, more alarming are recent attempts to regulate its display. Drawing upon extensive interviews, a broad sampling of media accounts, legal documents and his own observations of important events, sociologist Steven Dubin surveys the recent trend in censorship of the visual arts, photography and film, as well as artistic upstarts such as video and performance art. He examines the dual meaning of arresting images--both the nature of art work which disarms its viewers and the social reaction to it. Arresting Images examines the battles which erupt when artists address such controversial issues as racial polarization, AIDS, gay-bashing and sexual inequality in their work.

Relations between Byzantium and its neighbours are the focus of this volume. The papers address questions of cultural exchange, with special attention to art historical relations as shown by technical, iconographic and diplomatic exchanges. While addressed to specialists, both their approach and the language make these papers accessible to students at all levels.