Control of the Imaginary was first published in 1989. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

In Control of the Imaginary Luiz Costa Lima explains how the distinction between truth and fiction emerged at the beginning of modern times and why, upon its emergence, fiction fell under suspicion. Costa Lima not only describes the continuous relationship between Western notions of reason and subjectivity over a broad time-frame—the Renaissance to the first decade of the twentieth century—but he uses this occasion to reexamine the literary traditions of France, Italy, Spain, Portugal, England, and Germany. The book reconstructs the dominant frames in the European tradition between the Middle Ages and the nineteenth century from the perspective of a Latin American who sees the culture of his native Brazil haunted by unresolved questions from the Northern Hemisphere. Costa Lima manages to synthesize positions from philosophy, anthropology, sociology, psychology, linguistics, and history without separating the theoretical discussion from his historical reconstructions.

The first chapter situates the problem and grounds the emergent distinction between truth and fiction in a very close analysis of one of the first European historians, Fernao Lopes, who sets the tone for the condemnation of fiction in the name of the truth of history and the potential for individual interpretation. Costa Lima pursues these notions through the aesthetic debates of the seventeenth and eighteenth centuries to the writings of the French historian Michelet. He also devotes an illuminating chapter to the invention of the strictures imposed on fiction.

Deconstructive Variations was first published in 1995. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

Unique in its focus and its interdisciplinary reach, Rose Rosengard Subotnik's work is among the most original and challenging being done in American musicology. Her concerns are both formal and sociological, firmly linking music to social and cultural context and breaking down the barriers between music and life.

Deconstructive Variations is a sequel to Subotnik's previous collection, Developing Variations. It expands and continues her achievement-the promotion of humanistic criticism as a significant activity in music scholarship and the portrayal of Western art music in relation to the social structures and cultural values of the society that created it.

Bringing to her subject a vast range of philosophical, artistic, and historical knowledge, Subotnik applies the insights of Kant, Adorno, Bakhtin, and Derrida to major works of Mozart and Chopin. Each of these essays functions as an argument between two views: for and against the ideal of structural listening; Enlightenment and Romantic readings of The Magic Flute; high-modernist and postmodernist readings of Chopin's A-Major Prelude; and conceptions of reason put forward by Allan Bloom and Spike Lee.

Rose Rosengard Subotnik is professor emerita in the department of music at Brown University, and is the author of Developing Variations: Style and Ideology in Western Music (Minnesota, 1991).

Originally written more than fifty years ago by eminent scholar Ernst Benz, this volume stands as one of the most comprehensive biographies of Emanuel Swedenborg (1688–1772) ever published.

Benz examines Swedenborg’s life through the lens of the intellectual atmosphere of the eighteenth century. Growing up at a time when the classical view of the world was being challenged by the new philosophers and scientists of the Enlightenment, Swedenborg was deeply immersed both in the religious teachings of the Lutheran church and the explorations of rational science. His quest for understanding eventually led to his spiritual awakening and the unique insights that continue to inspire seekers and thinkers today.

Now available for the first time in paperback, Nicholas Goodrick-Clarke’s eminently readable translation shines a new light on the Swedish seer.

Yvor Winters has here collected, with an introduction, the major critical works—Primitivism and Decadence, Maule’s Curse, and The Anatomy of Nonsense—of the period in which he worked out his famous and influential critical position. The works together show an integrated position which illuminates the force and importance of the individual essays. With The Function of Criticism, a subsequent collection, In Defense of Reason provides an incomparable body of critical writing.

The noted critic bases his analysis upon a belief in the existence of absolute truths and values, in the ethical judgment of literature, and in an insistence that it is the duty of the writer—as it is of very man—to approximate these truths insofar as human fallibility permits. His argument is by theory, but also by definite example—the technique of the “whole critic” who effectively combines close study of specific literary works and a penetrating investigation of aesthetic philosophies.

This is the first detailed study, following the recent collapse of political Marxism in Eastern Europe, of twentieth-century Hungarian philosopher Georg Lukács and his position as the leading proponent of the Marxist theory of reason. Lukács's History and Class Consciousness has been called one of the three most influential philosophical works of this century, and he, the outstanding Marxist philosopher. Marxism has long suffered relative neglect in philosophical discussion as a result of its own invidious distinction between itself and the supposed irrationality of what it regards as bourgeois philosophy.

Tom Rockmore offers a uniquely detailed philosophical analysis of Lukács's entire position as a theory of reason, based on the distinction between reason and unreason, or irrationalism. The author gives special emphasis to Lukács's connection to German neo-Kantianism, particularly Lask, and on his last, unfinished work.

Rockmore begins with an account of the roots of Lukács's Marxism, followed by an in-depth analysis of his often mentioned, but still incompletely understood, seminal essay "Reification and the Class Consciousness of the Proletariat." He then traces the evolution and later demise of the distinction between reason and irrationalism in Lukács's final thought. The author thus makes available for the first time in English a strictly philosophical discussion of Georg Lukács's Marxist phase and brings consideration of his thought into the wider philosophical discussion.

Eze draws on an extraordinary command of Western philosophical thought and a deep knowledge of African philosophy and cultural traditions. He explores models of rationality in the thought of philosophers from Aristotle, René Descartes, Francis Bacon, and Thomas Hobbes to Noam Chomsky, Richard Rorty, Hilary Putnam, and Jacques Derrida, and he considers portrayals of reason in the work of the African thinkers and novelists Chinua Achebe, Ngugi wa Thiong’o, and Wole Soyinka. Eze reflects on contemporary thought about genetics, race, and postcolonial historiography as well as on the interplay between reason and unreason in the hearings of South Africa’s Truth and Reconciliation Commission. He contends that while rationality may have a foundational formality, any understanding of its foundation and form is dynamic, always based in historical and cultural circumstances.

• We are often forced through violence to do things that do not make sense for us except to avoid retaliations, punishments, or the various evils that others might inflict on us.
• We inhabit a world that escapes our control. This involves living in uncertainty concerning the things that we might suffer and do, that is, the things that might happen to us and the results of our actions.
• We are dependent on others and collaborate with them in ways that make it impossible to fully understand the sense of our own actions and practical intentions.