It follows Royal’s dedication to keep its newest ships cycling through what for now is the world’s busiest cruise port. This rendering shows an aerial view of the new Utopia of the Seas, which is headed to Port Canaveral when it debuts in July 2024. Still, the Orlando-area port will get the world’s second-largest cruise ship with Utopia, and more important, be the first home for the line’s newest vessel, another coup for Port Canaveral that within the last two years has also become the home port for new ships including Carnival’s Mardi Gras, Disney Wish and Norwegian Prima. While it will be technically bigger than the five other Oasis-class vessels in the fleet, it won’t get to sport the title of world’s largest cruise ship as Royal’s new Icon of the Seas will debut beforehand and sail out of Miami. The second part of the book is entitled "Karl Marx, Death and the Apocalypse.Royal Caribbean is keeping Port Canaveral at the head of the line when dolling out where its new ships go, announcing Tuesday it will be home to its new massive Utopia of the Seas, which will be dedicated to short three- and four-night Bahamas trips starting in July 2024. The "self-encounter," however, has to be conceived as "self-invention," as the active, affirmative fight for freedom and social justice, under the sign of Marx. This "we-problem" is worked out by Bloch in terms of a philosophy of the history of music. The first part of this philosophical meditation-which is also a narrative, an analysis, a rhapsody, and a manifesto-concerns a mode of "self-encounter" that presents itself in the history of music from Mozart through Mahler as an encounter with the problem of a community to come. The expressive and baroque diction of the book was considered as offensive as its stubborn disregard for the limits of "disciplines." Yet there is hardly a "discipline" that didn't adopt, however unknowingly, some of Bloch's insights, and his provocative associations often proved more productive than the statistical account of social shifts. The alliance between messianism and Marxism, which was proclaimed in this book for the first time with epic breadth, has met with more critique than acclaim. In its style of thinking, a peculiar amalgam of biblical, Marxist, and Expressionist turns, in its analytical skills deeply informed by Simmel, taking its information from both Hegel and Schopenhauer for the groundwork of its metaphysics of music but consistently interpreting the cultural legacy in the light of a certain Marxism, Bloch's Spirit of Utopia is a unique attempt to rethink the history of Western civilizations as a process of revolutionary disruptions and to reread the artworks, religions, and philosophies of this tradition as incentives to continue disrupting. The Spirit of Utopia is one of the great historic books from the beginning of the century, but it is not an obsolete one. These are the opening words of Ernst Bloch's first major work, The Spirit of Utopia, written mostly in 1915-16, published in its first version just after the First World War, republished five years later, 1923, in the version here presented for the first time in English translation.
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