By Susan Buck-Morss
During this path-breaking paintings, Susan Buck-Morss attracts new connections among historical past, inequality, social clash, and human emancipation. Hegel, Haiti, and common historical past bargains a basic reinterpretation of Hegel's master-slave dialectic and issues to a manner ahead to loose severe theoretical perform from the prison-house of its personal debates. Historicizing the concept of Georg Wilhelm Friedrich Hegel and the activities taken within the Haitian Revolution, Buck-Morss examines the startling connections among the 2 and demanding situations us to widen the limits of our historic mind's eye. She reveals that it really is within the discontinuities of historic movement, the perimeters of human event, and the unforeseen linkages among cultures that the prospect to go beyond limits is found. it truly is those flashes of readability that open the opportunity of figuring out even with cultural differences. What Buck-Morss proposes quantities to a “new humanism,” one who is going past the standard ideological implications of any such word to embody an intensive neutrality that insists at the permeability of the gap among opposing facets and because it reaches for a standard humanity.
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Additional resources for Hegel, Haiti, and Universal History (Pitt Illuminations)
14. Divyāvadāna. XXVI. The quotation cited here was taken from an identical passage in John Strong’s translation of the Aśokāvadāna. John S. Strong, The Legend of King Aśoka: A Study and Translation of the Aśokāvadāna (Princeton University Press, 1983), 192. 15. Strong, The Legend of King Aśoka, 195. 16. Strong, The Legend of King Aśoka, 195 17. Strong, The Legend of King Aśoka, 196. 18. The only possible exception of which I am aware is one passage in the Cula Vagga of the Vinaya Pitaka that forbids the portrayal of human or animal figures on mon˙ astery walls and stipulates that vegetal designs should be used instead.
1 This text, which is ostensibly a discussion of the sculpture at the Buddhist monasteries of Sāñcī and Amarāvatī, devolves into a wide-ranging evaluation of human civilization based largely on racial determinism. As part of this analysis, Fergusson identifies representations of serpents within religious contexts as an explicit indication of social decline, regardless of the setting. In this case, Fergusson’s own Protestant background, which associates serpents with corruption, is projected onto all cultures without questioning the meanings associated with snakes in each specific society, region, or historical period.
According to the legend, while the Buddha was in heaven preaching to his deceased mother and the gods, King Prasenajit grew eager to see the Buddha again. So he commissioned his artists to carve an image of wood and had it placed in the monastery. ”25 After this greeting, the Buddha instructed the image to return to the monastery, where it would serve as a pattern for his followers after he was gone. Significantly, the image in this story is revealed to be capable of a great deal of independent action even though it is the copy of a From the Living Rock | 35 living person.