In this book, the author presents an interpretation of four thinkers: Nietzsche, Heidegger, Foucault, and Derrida. In an attempt to place these thinkers within the wider context of the crisis-oriented modernism and postmodernism that have been the source of much of what is most original and creative in twentieth-century art and thought.

From the academy to pop culture, our society is in the throes of change rivaling the birth of modernity out of the decay of the Middle Ages. We are now moving from the modern to the postmodern era. But what is postmodernism? How did it arise? What characterizes the postmodern ethos? What is the postmodern mind and how does it differ from the modern mind? Who are its leading advocates? Most important of all, what challenges does this cultural shift present to the church, which must proclaim the gospel to the emerging postmodern generation? Stanley Grenz here charts the postmodern landscape. He shows the threads that link art and architecture, philosophy and fiction, literary theory and television. He shows how the postmodern phenomenon has actually been in the making for a century and then introduces readers to the gurus of the postmodern mind-set. What he offers here is truly an indispensable guide for understanding today's culture.

The only consensus that has been reached on Hosea 1-3 is that it is a notoriously 'problematic' text. Sherwood unpicks this rather vague statement by examining the particular complexities of the text and frictions between the text and reader that conspire to produce such a disorientating effect. Four dimensions of the 'problem' are considered: the conflict between text and reader over the 'improper' relationship between Hosea and Gomer; the bizarre prophetic sign-language that conscripts people into a cosmic charade; the text's propensity to subvert its central theses; and the emergent tensions between the feminist reader and the text. Aiming to bring together literary criticism and biblical scholarship, this book provides lucid introductions to ideological criticism, semiotics, deconstruction and feminist criticism, and looks at the implications of these approaches not only for the book of Hosea but for biblical studies in general.

This is the first full-length study of the impact of Friedrich Nietzsche's writings on the thought of French philosopher Michel Foucault. Focusing on the notion of genealogy in the thought of both Nietzsche and Foucault, the author explores the three genealogical axes—truth, power, and the subject—as they gradually emerge in Foucault's writings. This complex of axes into which Foucault was drawn, especially as a result of his early history of madness, called forth his explicit adoption of a Nietzschean approach to his future work. By interpreting Foucault's Histoire de la folie in the light of Nietzsche's genealogy of tragedy, Mahon shows how the moral problematization of madness in history provides the historical conditions from which the three axes emerge. After tracing the gradual emergence of the three axes through Foucault's writings of the remainder of the 1960s, especially Les Mots et les choses, Mahon turns to Foucault's explicit methodological statements and his notion of genealogy and offers a reading of Foucault's L'archeologie du savoir, arguing that there is no chasm between Foucault's archaeological writings and his genealogies. The work concludes with an analysis of Foucault's final writings on the genealogy of modern subjectivity and an examination of how truth, power, and the subject operate for the modern psychoanalytic subject of desire.

Asks important questions about the very nature of stories and examines why we read stories rather than just learning the endings.

Modernity became one of a number of equally plausible cultural strategies for organizing life in the contemporary world."--BOOK JACKET.

In the past thirty years, historians have broadened the scope of their discipline to include many previously neglected topics and perspectives. They have chronicled language, madness, gender, and sexuality and have experimented with new forms of presentation. They have turned to the histories of non-Western peoples and to the troubled relations between “the West” and the rest. Allan Megill welcomes these developments, but he also suggests that there is now confusion among historians about what counts as a justified account of the past. In Historical Knowledge, Historical Error, Megill dispels some of the confusion. Here, he discusses issues of narrative, objectivity, and memory. He attacks what he sees as irresponsible uses of evidence while accepting the art of speculation, which incomplete evidence forces upon historians. Along the way, he offers succinct accounts of the epistemological road historians have traveled from Herodotus and Thucydides through Leopold von Ranke and Alexis de Tocqueville, and on to Hayden White, Natalie Zemon Davis, and Lynn Hunt.