Here are 100 books that The Man Without Qualities fans have personally recommended if you like
The Man Without Qualities.
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I boast a two-decade-long career in the software industry. Over the years, I have diligently honed my programming skills across a multitude of languages, including JavaScript, C++, Java, Ruby, and Clojure. Throughout my career, I have taken on various management roles, from Team Leader to VP of Engineering. No matter the role, the thing I have enjoyed the most is to make complex topics easy to understand.
Naming and Necessity had a profound impact on my understanding of the importance of using proper names in programming (for functions, variables, etc.). I was fascinated by Kripke’s exploration of the usage of names in our day-to-day language. His arguments challenged my thinking and introduced me to new ways of considering reference and meaning.
The clarity and rigor of his analysis pushed me to refine my reasoning skills. Despite being a challenging read, I found it incredibly rewarding.
'Naming and Necessity' has had a great and increasing influence. It redirected philosophical attention to neglected questions of natural and metaphysical necessity and to the connections between these and theories of naming, and of identity. This seminal work, to which today's thriving essentialist metaphysics largely owes its impetus, is here reissued in a newly corrected form with a new preface by the author. If there is such a thing as essential reading in metaphysics, or in philosophy of language, this is it.
I am a philosopher of language (and of art) and have been for 30+ years. Why philosophy of language? Well, it encourages a certain salutary kind of self-consciousness—which is extremely valuable to philosophy—and facilitates greater rigor. But it only got going some one hundred and twenty years ago. So it's modern(ish) as well as deep. And whereas it might seem a narrow slice of the philosophical pie, it isn't; it seems to provide fruitful ways of thinking for almost any philosophical subject. For example, rather than 'What is X?', we ask 'What do we mean by "X"?'; a subtle difference perhaps but the change in perspective might be a key.
I first read this book at age twenty-one and have never stopped returning to it. It gets better and deeper each time.
Ludwig teaches that language and reality are bound up in so many ways. It also contains some famous themes and head-scratchers, such as language games, family resemblance, private language, and rule-following, discussed, as always, in a non-technical way.
Incorporating significant editorial changes from earlier editions, the fourth edition of Ludwig Wittgenstein's Philosophical Investigations is the definitive en face German-English version of the most important work of 20th-century philosophy The extensively revised English translation incorporates many hundreds of changes to Anscombe's original translation Footnoted remarks in the earlier editions have now been relocated in the text What was previously referred to as 'Part 2' is now republished as Philosophy of Psychology - A Fragment , and all the remarks in it are numbered for ease of reference New detailed editorial endnotes explain decisions of translators and identify references and…
When I produced a recording of lost works by Alexander Zemlinsky with Riccardo Chailly for Decca Records in 1984, I soon realized that a wealth of music had been lost during the Nazi years that had never been recovered. After initiating and supervising the recording series Entartete Musik for Decca, the first retrospective of major works lost during the Nazi years, I headed research in this subject at London University’s Jewish Music Institute. I was a music curator at Vienna’s Jewish Museum. YUP published one of my books, and I am a co-founder of the Research Center and Archive “Exilarte” based at Vienna’s University of Music and Performing Arts.
When I first read Zweig’s memoir, I initially thought it was pretentious name-dropping, mentioning one prominent fin de siècle Viennese writer or musician after another. Only years later did I warm to his memories describing a world that existed before the cataclysm of World Wars and the ultimate fate of Europe’s Jewish citizens.
In reading other memoirs from the period (such as Ernst Krenek’s–not available in English), it’s possible to see that Zweig was writing from a position of enormous privilege while also reflecting the very essence of cultural life in a world where culture was perhaps its most important characteristic and distinguishing element.
The World of Yesterday, mailed to his publisher a few days before Stefan Zweig took his life in 1942, has become a classic of the memoir genre. Originally titled “Three Lives,” the memoir describes Vienna of the late Austro-Hungarian Empire, the world between the two world wars and the Hitler years.
Translated from the German by Benjamin W. Huebsch and Helmut Ripperger; with an introduction by Harry Zohn, 34 illustrations, a chronology of Stefan Zweig’s life and a new bibliography, by Randolph Klawiter, of works by and about Stefan Zweig in English.
I am a philosopher of language (and of art) and have been for 30+ years. Why philosophy of language? Well, it encourages a certain salutary kind of self-consciousness—which is extremely valuable to philosophy—and facilitates greater rigor. But it only got going some one hundred and twenty years ago. So it's modern(ish) as well as deep. And whereas it might seem a narrow slice of the philosophical pie, it isn't; it seems to provide fruitful ways of thinking for almost any philosophical subject. For example, rather than 'What is X?', we ask 'What do we mean by "X"?'; a subtle difference perhaps but the change in perspective might be a key.
I found this book's scientific rigor, systematicity, depth, and wisdom unmatchable. I liked "the passion for desert landscapes" together with the wit.
It’s not easy, at first, to see the philosophical significance of the discussion until you do, and you’re attracted to the idea that philosophy is too often a mere verbal tangle. Quine agrees, and he tries to explain why.
Willard Van Orman Quine begins this influential work by declaring, "Language is a social art. In acquiring it we have to depend entirely on intersubjectively available cues as to what to say and when." As Patricia Smith Churchland notes in her foreword to this new edition, with Word and Object Quine challenged the tradition of conceptual analysis as a way of advancing knowledge. The book signaled twentieth-century philosophy's turn away from metaphysics and what Churchland calls the "phony precision" of conceptual analysis.
In the course of his discussion of meaning and the…
I am a philosopher of language (and of art) and have been for 30+ years. Why philosophy of language? Well, it encourages a certain salutary kind of self-consciousness—which is extremely valuable to philosophy—and facilitates greater rigor. But it only got going some one hundred and twenty years ago. So it's modern(ish) as well as deep. And whereas it might seem a narrow slice of the philosophical pie, it isn't; it seems to provide fruitful ways of thinking for almost any philosophical subject. For example, rather than 'What is X?', we ask 'What do we mean by "X"?'; a subtle difference perhaps but the change in perspective might be a key.
Wollheim teaches that this is largely, if tacitly, a philosophical interest, in particular, an interest in philosophy in mind, depth psychology, and meaning. That is why pictures fascinate us in the way they do. It is the very opposite of deconstructionism; the facts of history, artistic intention, psychoanalysis, and perception make something urgently real out of painting.
One of the twentieth century's most influential texts on philosophical aesthetics
Painting as an Art is acclaimed philosopher Richard Wollheim's encompassing vision of how to view art. Transcending the traditional boundaries of art history, Wollheim draws on his three great passions-philosophy, psychology, and art-to present an illuminating theory of the very experience of art. He shows how to unlock the meaning of a painting by retrieving-almost reenacting-the creative activity that produced it. In order to fully appreciate a work of art, Wollheim argues, critics must bring a much richer conception of human psychology than they have in the past. This…
When I produced a recording of lost works by Alexander Zemlinsky with Riccardo Chailly for Decca Records in 1984, I soon realized that a wealth of music had been lost during the Nazi years that had never been recovered. After initiating and supervising the recording series Entartete Musik for Decca, the first retrospective of major works lost during the Nazi years, I headed research in this subject at London University’s Jewish Music Institute. I was a music curator at Vienna’s Jewish Museum. YUP published one of my books, and I am a co-founder of the Research Center and Archive “Exilarte” based at Vienna’s University of Music and Performing Arts.
This is a novel that is tender and sad, and it relates in a language that is simple and poetic to the atmosphere of the Habsburg Empire during its final days. The novel takes place in the provinces rather than in the capital. Every line of the book can be savored, with every sentence laden with nostalgia for a world that seems like another, kinder planet. It is the world that pre-dated one of my other recommendations, The Strudlhof Steps, in its presentation of people with a sense of purpose, duty, and loyalty, even if not blessed with an abundance of acumen.
These were well-intentioned people trying to hold an empire together of disparate people and cultures. The empire represented an ideal world of Habsburg paternalism to Jews, Slavs, and Hungarians. It is difficult to conclude the book without tears. No cinematic version has done it justice—nothing captures the…
'One of the greatest novels ever written' Philippe Sands
Roth's masterpiece: an epic, moving account of the final days of the Austro-Hungarian empire, told through the fortunes of one family.
Set against the doomed splendour of the Austro-Hungarian Empire, The Radetzky March tells the story of the celebrated Trotta family, tracing their rise and fall over three generations. Theirs is a sweeping history of heroism and duty, desire and compromise, tragedy and heartbreak, a story that lasts until the darkening eve of World War One, when all is set to fall apart. Rich, epic and profoundly moving, The Radetzky March…
When I produced a recording of lost works by Alexander Zemlinsky with Riccardo Chailly for Decca Records in 1984, I soon realized that a wealth of music had been lost during the Nazi years that had never been recovered. After initiating and supervising the recording series Entartete Musik for Decca, the first retrospective of major works lost during the Nazi years, I headed research in this subject at London University’s Jewish Music Institute. I was a music curator at Vienna’s Jewish Museum. YUP published one of my books, and I am a co-founder of the Research Center and Archive “Exilarte” based at Vienna’s University of Music and Performing Arts.
In some ways, this is an even more daunting novel than Musil’s masterpiece. Initially, it gives the impression of meandering over some 800 pages, with the first hundred pages dealing with individuals who do not reappear until towards the end. It is less a novel with a narrative plotline and more a novel in which the protagonists are themselves the plot.
These individuals do much more than represent Austria and Vienna in the 1920s. Indeed, it could be seen almost as a sequel to Musil’s Man Without Qualities, which deals with the same social milieu. It is always amusingly chaotic yet equally cynical as it shows us a sector of Middle European society that was bred to run an empire when, abruptly, there is no longer an empire left to run.
It is a vast panorama, presenting a society of rather dull-witted people educated well beyond their natural intelligence.…
The first English translation of an essential Austrian novel about life in early-twentieth-century Vienna, as seen through a wide and varied cast of characters.
The Strudlhof Steps is an unsurpassed portrait of Vienna in the early twentieth century, a vast novel crowded with characters ranging from an elegant, alcoholic Prussian aristocrat to an innocent ingenue to “respectable” shopkeepers and tireless sexual adventurers, bohemians, grifters, and honest working-class folk. The greatest character in the book, however, is Vienna, which Heimito von Doderer renders as distinctly as James Joyce does Dublin or Alfred Döblin does Berlin. Interweaving two time periods, 1908 to…
When I produced a recording of lost works by Alexander Zemlinsky with Riccardo Chailly for Decca Records in 1984, I soon realized that a wealth of music had been lost during the Nazi years that had never been recovered. After initiating and supervising the recording series Entartete Musik for Decca, the first retrospective of major works lost during the Nazi years, I headed research in this subject at London University’s Jewish Music Institute. I was a music curator at Vienna’s Jewish Museum. YUP published one of my books, and I am a co-founder of the Research Center and Archive “Exilarte” based at Vienna’s University of Music and Performing Arts.
There are so many histories of fin de siècle Vienna that this book is a welcome, long-awaited postlude. It explains how the city’s creativity did not die with the fall of the Habsburgs but became the source of everything we think of today as “modern”, from shopping, to cooking, to economics, to housing, education and the interaction of state and society.
Berlin may have been livelier in the 1920s, but the new ideas that would take root across the world and shape modern society were still coming out of Vienna.
How can one European capital be responsible for most of the West's intellectual and cultural achievements in the twentieth century?
Viennese ideas saturate the modern world. From California architecture to Hollywood Westerns, modern advertising to shopping malls, orgasms to gender confirmation surgery, nuclear fission to fitted kitchens-every aspect of our history, science, and culture is in some way shaped by Vienna.
The city of Freud, Wittgenstein, Mahler, and Klimt was the melting pot at the heart of a vast metropolitan empire. But with the Second World War and the rise of fascism, the dazzling coteries of thinkers who squabbled, debated,…
I have always been intrigued by fantastical world-building that is complex, detailed, forensically credible, and immeasurably encyclopedic in scope. It should propel you to a world that feels almost as real as the world you leave behind but with intricate magic systems and razor-shape lore. Ironically, some of my choices took a while to love, but once they “sunk in,” everything changed. Whenever life gets too much, it has been cathartic, essential even, to transport to another universe and find solace in prose dedicated to survival, soul, and renewal.
Thomas Covernant is a leper shunned by society but finds himself in the Land where some herald him as the one who’ll save them from an evil sorcerer, Lord Foul. He is not always a sympathetic character, but being on society’s edge where all and sundry openly shun him can do that to anyone.
What I loved the most was the captivating Land with its many peoples and inhabitants, such as the sentient woods and the Forestals that ward them, the Elohim, a benign people with special powers, the Giants and the evil Viles, Waynhim, and ur-viles.
Outside being exotic, the world feels credible and immersive, especially the “wild magic” Covernant begins to wield. I ended up caring passionately about what happened to the Land and wanting Covernant to acknowledge his worth.
'Comparable to Tolkien at his best' WASHINGTON POST
Instantly recognised as a modern fantasy classic, Stephen Donaldson's uniquely imaginative and complex THE CHRONICLES OF THOMAS COVENANT, THE UNBELIEVER became a bestselling literary phenomenon that transformed the genre.
Lying unconscious after an accident, writer Thomas Covenant awakes in the Land - a strange, beautiful world locked in constant conflict between good and evil.
But Covenant, too, has been transformed: weak, angry, and alone in our world, he now holds powers beyond imagining and is greeted as a saviour. Can this man truly become the hero the Land requires?
Aside from my brief stint as a bossy know-it-all when I was little, I have always been that quiet girl no one notices. In high school, it took me at least ten minutes and five tries to get myself to wish my desk partner a happy birthday. I spent a lot of my adolescence trying to find myself, so I understand what it’s like to feel lost. My greatest wish is for my book to help at least one person feel how these books helped me.
I will never pass up an opportunity to discuss one of Zack Smedley’s books. This one is one of the most beautiful, truthful, and book-hangover-inducing stories I have ever enjoyed reading.
Its narrator, a boy struggling to tell and come to terms with a difficult truth, will live in my heart and mind forever. I advise people to check for content warnings, as Smedley’s work never fails to leave me an emotional wreck.
Owen Turner is a boy of too many words. For years, they all stayed inside his head and he barely spoke-until he met Lily. Lily, the girl who gave him his voice, helped him come out as bi, and settle into his ASD diagnosis. But everything unravels when someone reports Owen's biggest secret to the school: that he was sexually assaulted at a class event. As officials begin interviewing students to get to the bottom of things, rumors about an assault flood the school hallways. No one knows it happened to Owen, and he's afraid of what will happen if…
