The human voice does not deceive. The one who is speaking is inevitably revealed by the singular sound of her voice, no matter -what- she says. We take this fact for granted--for example, every time someone asks, over the telephone, -Who is speaking?- and receives as a reply the familiar utterance, -It's me.- Starting from the given uniqueness of every voice, Cavarero rereads the history of philosophy through its peculiar evasion of this embodied uniqueness. She shows how this history--along with the fields it comprehends, such as linguistics, musicology, political theory, and studies in...
The human voice does not deceive. The one who is speaking is inevitably revealed by the singular sound of her voice, no matter -what- she says. We tak...
The human voice does not deceive. The one who is speaking is inevitably revealed by the singular sound of her voice, no matter -what- she says. We take this fact for granted--for example, every time someone asks, over the telephone, -Who is speaking?- and receives as a reply the familiar utterance, -It's me.- Starting from the given uniqueness of every voice, Cavarero rereads the history of philosophy through its peculiar evasion of this embodied uniqueness. She shows how this history--along with the fields it comprehends, such as linguistics, musicology, political theory, and studies in...
The human voice does not deceive. The one who is speaking is inevitably revealed by the singular sound of her voice, no matter -what- she says. We tak...
Philosophers of aesthetics, from Baumgarten to Hegel, paid considerable attention to art and artists of the early modern period. Yet early modern artistic practices scarcely figure in recent work on aesthetics as a branch of philosophy in the eighteenth century. This book addresses that gap, elaborating the extent to which artworks and practices of the fifteenth through the eighteenth centuries were accompanied by an immense range of discussions about the arts and their relation to one another. Rather than take art as a stand-in for or reflection of some other historical event or social...
Philosophers of aesthetics, from Baumgarten to Hegel, paid considerable attention to art and artists of the early modern period. Yet early modern arti...
Philosophers of aesthetics, from Baumgarten to Hegel, paid considerable attention to art and artists of the early modern period. Yet early modern artistic practices scarcely figure in recent work on aesthetics as a branch of philosophy in the eighteenth century. This book addresses that gap, elaborating the extent to which artworks and practices of the fifteenth through the eighteenth centuries were accompanied by an immense range of discussions about the arts and their relation to one another. Rather than take art as a stand-in for or reflection of some other historical event or social...
Philosophers of aesthetics, from Baumgarten to Hegel, paid considerable attention to art and artists of the early modern period. Yet early modern arti...
