Philosophy

Questions and answers from two great philosophers

Why is laughter contagious? Why do mountains exist? Why do we long for the past, even if it is scarred by suffering? Spanning a vast array of subjects that range from the philosophical to the theological, from the philological to the scientific, The Philosopher Responds is the record of a set of questions put by the litterateur Abu Hayyan al-Tawhidi to the philosopher and historian Abu 'Ali Miskawayh. Both figures were foremost contributors to the remarkable flowering of cultural and intellectual life that took place in the Islamic world during the reign of the Buyid dynasty in the fourth/tenth century.

The correspondence between al-Tawhidi and Miskawayh holds a mirror to many of the debates and preoccupations of the time and reflects the spirit of rationalistic inquiry that animated their era. It also provides insight into the intellectual outlooks of two thinkers who were divided as much by their distinctive temperaments as by the very different trajectories of their professional careers.

Alternately whimsical and tragic, wondering and brooding, trivial and profound, al-Tawhidi’s questions provoke an interaction as interesting in its spiritedness as in its content. This new edition of The Philosopher Responds is accompanied by the first full-length English translation of this important text, bringing this interaction to life for the English reader.

A bilingual Arabic-English edition.

Questions and answers from two great philosophers

Why is laughter contagious? Why do mountains exist? Why do we long for the past, even if it is scarred by suffering? Spanning a vast array of subjects that range from the philosophical to the theological, from the philological to the scientific, The Philosopher Responds is the record of a set of questions put by the litterateur Abu Hayyan al-Tawhidi to the philosopher and historian Abu 'Ali Miskawayh. Both figures were foremost contributors to the remarkable flowering of cultural and intellectual life that took place in the Islamic world
during the reign of the Buyid dynasty in the fourth/tenth century.

The correspondence between al-Tawhidi and Miskawayh holds a mirror to many of the debates and preoccupations of the time and reflects the spirit of rationalistic inquiry that animated their era. It also provides insight into the intellectual outlooks of two thinkers who were divided as much by their distinctive temperaments as by the very different trajectories of their professional careers.

Alternately whimsical and tragic, wondering and brooding, trivial and profound, al-Tawhidi’s questions provoke an interaction as interesting in its spiritedness as in its content. This new edition of The Philosopher Responds is accompanied by the first full-length English translation of this important text, bringing this interaction to life for the English reader.

A bilingual Arabic-English edition.

How minoritarian artists grapple with both personal and collective grief

Tears for Tears documents moments of tension, negotiation, transformation, and incommensurability between singular loss and mass death through the work of contemporary minoritarian artists. These artists interrogate the cultural, social, and political enmeshment of death by questioning the interior and exterior conditions of loss Charting communal, singular, ongoing, and impending loss due to state-sanctioned violence, colonial racial capitalism, natural disaster, and social and personal circumstances, Sandra Ruiz underscores the affective entanglements across death that reshape the topography of grief into portals of possibility.

Drawing from original interviews, familial artifacts, images, and personal archival notes of artists—much of which have never been written about before—the project centers the minoritarian artist as living with and against death in everyday life and art practice. In doing so, the manuscript stages an archival and ideological intervention into the life of grief for minoritarian subjects and artists.
Moving across performance and video art, sculpture, dance, music, theatre, and poetry, Ruiz highlights the relationship between everyday life and staged events as a critical lens to rethink structures of colonial and imperial spatial temporalities of grief. Offering invaluable insights into the production of these works and performances, Ruiz reveals how these artists move across social, corporeal, and psychic constructions of sorrow in their art practices—often working from parental loss into the domain of communal death—and see grieving, however painful, as an act of empowerment, transformation, growth, and communal building.