Since the 17th century, Western society has had a turbulent relationship with Reason. Descartes set out to reorganize all his opinions in the light of Reason, allowing, as Pascal bitterly reproached him, nothing else. In the course of the centuries which followed, the relationship with Reason became the object of a vigorous, often passionate debate. David Hume declared Reason to be impotent; Immanuel Kant observed that men suffered from 'misology' as the result of their disappointed expectations from Reason; G.W.F. Hegel declared that the main insight of philosophy consisted of the realization that Reason masterminded and guided all history. The debate has not remained restricted to philosophy. Max Weber, the most influential modern sociologist, was obsessed with the distinctive role of Reason in Western society, and the part it played in engendering industrialism. Social anthropologists have been preoccupied both with the universality and the diversity of conceptual thought. Emile Durkheim taught them to ask why all men were rational, whilst Max Weber taught sociologists to ask why some men were more rational than others. This book brings together the philosophical, historical and sociological discussions of rationality and strives to make clear the underlying issues and the continuity of the debate in the various disciplines.

"The main thrust of this book is to deliver a major critique of materialist and rationalist explanations of social and cultural forms, but the in the process Sahlins has given us a much stronger statement of the centrality of symbols in human affairs than have many of our 'practicing' symbolic anthropologists. He demonstrates that symbols enter all phases of social life: those which we tend to regard as strictly pragmatic, or based on concerns with material need or advantage, as well as those which we tend to view as purely symbolic, such as ideology, ritual, myth, moral codes, and the like. . . ."—Robert McKinley, Reviews in Anthropology

In this probing examination of the meaning and function of culture in contemporary society, Lawrence Cahoone argues that reason itself is cultural, but no less reasonable for it. While recent political and philosophical movements have recognized that cognition, the self, and politics are embedded in culture, most fail to appreciate the deep changes in rationalism and liberal theory this implies, others leap directly into relativism, and nearly all fail to define culture. Cultural Revolutions systematically defines culture, gauges the consequences of the ineradicably cultural nature of cognition and action, yet argues that none of this implies relativism. After showing where other “new culturalists” have gone wrong, Cahoone offers his own definition of culture as teleologically organized practices, artifacts, and narratives and analyzes the notion of cultural membership in relation to race, ethnicity, and “primordialism.” He provides a theory of culture’s role in how we form our sense of reality and argues that the proper conception of culture dissolves “the problem” of cultural relativism. Applying this perspective to Islamic fundamentalism, Cahoone identifies its conflict with the West as representing the break between two of three historically distinctive forms of reason. Rather than being “irrational,” he shows, fundamentalism embodies a rationality only recently devalued—but not entirely abandoned—by the West. The persistence of plural forms of reason suggests that modernization in various world cultures is compatible with continued, even magnified, cultural differences.

This pathbreaking work reveals the pivotal role of music--musical works and musical culture--in debates about society, self, and culture that forged European modernity through the "long nineteenth century." Michael Steinberg argues that, from the late 1700s to the early 1900s, music not only reflected but also embodied modern subjectivity as it increasingly engaged and criticized old regimes of power, belief, and representation. His purview ranges from Mozart to Mahler, and from the sacred to the secular, including opera as well as symphonic and solo instrumental music. Defining subjectivity as the experience rather than the position of the "I," Steinberg argues that music's embodiment of subjectivity involved its apparent capacity to "listen" to itself, its past, its desires. Nineteenth-century music, in particular music from a north German Protestant sphere, inspired introspection in a way that the music and art of previous periods, notably the Catholic baroque with its emphasis on the visual, did not. The book analyzes musical subjectivity initially from Mozart through Mendelssohn, then seeks it, in its central chapter, in those aspects of Wagner that contradict his own ideological imperialism, before finally uncovering its survival in the post-Wagnerian recovery from musical and other ideologies. Engagingly written yet theoretically sophisticated, Listening to Reason represents a startlingly original corrective to cultural history's long-standing inhibition to engage with music while presenting a powerful alternative vision of the modern. Some images inside the book are unavailable due to digital copyright restrictions.

With clarity and wisdom, Pope Benedict XVI sets out his vision for Catholic higher education in this first and only collection of his major addresses on the topic. What is the mission and identity of a Catholic university? What are the responsibilities of administrators, teachers, and students in Catholic institutes of higher learning? Where does the central theme of "love of God and others" fit into academia?

In this much-needed account of what has gone wrong in our thinking about the environment, Val Plumwood digs at the roots of environmental degradation. She argues that we need to see nature as an end itself, rather than an instrument to get what we want. Using a range of examples, Plumwood presents a radically new picture of how our culture must change to accommodate nature.

From the author of "Hollywood Gothic" and "The Monster Show" comes the definitive book on the men in white coats who haunt our technological dreams and nightmares: mad scientists. 100 photos. College lectures.