Contrary to popular perceptions, cultural heritage is not given, but constantly in the making: a construction subject to dynamic processes of (re)inventing culture within particular social formations and bound to particular forms of mediation. Yet the appeal of cultural heritage often rests on its denial of being a fabrication, its promise to provide an essential ground to social-cultural identities. Taking this paradoxical feature as a point of departure, and anchoring the discussion to two heuristic concepts—the "politics of authentication" and "aesthetics of persuasion"—the chapters herein explore how this tension is central to the dynamics of heritage formation worldwide.

The Dialectic of Essence offers a systematic new account of Plato's metaphysics. Allan Silverman argues that the best way to make sense of the metaphysics as a whole is to examine carefully what Plato says about ousia (essence) from the Meno through the middle period dialogues, the Phaedo and the Republic, and into several late dialogues including the Parmenides, the Sophist, the Philebus, and the Timaeus. This book focuses on three fundamental facets of the metaphysics: the theory of Forms; the nature of particulars; and Plato's understanding of the nature of metaphysical inquiry. Silverman seeks to show how Plato conceives of "Being" as a unique way in which an essence is related to a Form. Conversely, partaking ("having") is the way in which a material particular is related to its properties: Particulars, thus, in an important sense lack essence. Additionally, the author closely analyzes Plato's idea that the relation between Forms and particulars is mediated by form-copies. Even when some late dialogues provide a richer account of particulars, Silverman maintains that particulars are still denied essence. Indeed, with the Timaeus's introduction of the receptacle, there are no particulars of the traditional variety. This book cogently demonstrates that when we understand that Plato's concern with essence lies at the root of his metaphysics, we are better equipped to find our way through the labyrinth of his dialogues and to better appreciate how they form a coherent theory.

Shows how analogy-making pervades human thought at all levels, influencing the choice of words and phrases in speech, providing guidance in unfamiliar situations, and giving rise to great acts of imagination.

Offers more the reader more aids -- including notes and a commentary -- than does any other translation.

This is an introductory textbook of metaphysics, whose aim is to help a beginning student. . . . According to St. Thomas, the human intellect must begin with sensible things, and hence all principles must somehow be found in sense experience. The discovery of principles is an induction, as I hope to prove in this text. But there is no danger of empiricism or sensism, if we remember that point on which Aristotle and St. Thomas were ready to stake their whole philosoophy, namely, that sensible things are potentially intelligible. With regard to the manner of presentation, this book is not 'St. Thomas made simple.' St. Thomas's thought is not simple, and attempted simplifications usually end by simplifying the positions and letting the reasoning go. The method of this book attempts to provide for the necessary introductory character of the course by selecting only a few of the problems of metaphysics for study and by giving as concrete a presentation of the evidence as possible. --from the Preface

Modality, morality and belief are among the most controversial topics in philosophy today, and few philosophers have shaped these debates as deeply as Ruth Barcan Marcus. Inspired by her work, a distinguished group of philosophers explore these issues, refine and sharpen arguments and develop new positions on such topics as possible worlds, moral dilemmas, essentialism, and the explantion of actions by beliefs. This state of the art collection honors one of the most rigorous and iconoclastic of philosophical pioneers.

"As the twentieth century draws to a close, Maria is at the start of a life she never thought possible. She and Khalil, her college sweetheart, are planning their wedding. They are the perfect couple, 'King and Queen of the Racially Nebulous Prom.' Their skin is the same shade of beige. They live together in a black bohemian enclave in Brooklyn, where Khalil is riding the wave of the first dot-com boom and Maria is plugging away at her dissertation on the Jonestown massacre ... Everything Maria knows she should want lies before her--yet she can't stop daydreaming about another man, a poet she barely knows"--Back cover.