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We is a dystopian novel written by Russian writer Yevgeny Zamyatin. Originally drafted in Russian, the book could be published only abroad. It was translated into English in 1924. Even as the book won a wide readership overseas, the author's satiric depiction led to his banishment under Joseph Stalin's regime in the then USSR. The book's depiction of life under a totalitarian state influenced the other novels of the 20th century. Like Aldous Huxley's Brave New World and George Orwell's Nineteen Eighty-four, We describes a future socialist society that has turned out to be not perfect but inhuman. Orwell claimed that Brave New World must be partly derived from We, but Huxley denied this. The novel is set in the future. D-503, a spacecraft engineer, lives in the One State which assists mass surveillance. Here life is scientifically managed. There is no way of referring to people except by their given numbers. The society is run strictly by reason as the primary justification for the construct of the society. By way of formulae and equations outlined by the One State, the individual's behaviour is based on logic.
Hannah Arendt was born in Germany in 1906 and lived in America from 1941 until her death in 1975. Thus her life spanned the tumultuous years of the twentieth century, as did her thought. She did not consider herself a philosopher, though she studied and maintained close relationships with two great philosophers—Karl Jaspers and Martin Heidegger—throughout their lives. She was a thinker, in search not of metaphysical truth but of the meaning of appearances and events. She was a questioner rather than an answerer, and she wrote what she thought, principally to encourage others to think for themselves. Fearless of the consequences of thinking, Arendt found courage woven in each and every strand of human freedom. In 1951 she published The Origins of Totalitarianism, in 1958 The Human Condition, in 1961 Between Past and Future, in 1963 On Revolution and Eichmann in Jerusalem, in 1968 Men in Dark Times, in 1970 On Violence, in 1972 Crises of the Republic, and in 1978, posthumously, The Life of the Mind. Starting at the turn of the twenty-first century, Schocken Books has published a series of collections of Arendt’s unpublished and uncollected writings, of which Thinking Without a Banister is the fifth volume. The title refers to Arendt’s description of her experience of thinking, an activity she indulged without any of the traditional religious, moral, political, or philosophic pillars of support. The book’s contents are varied: the essays, lectures, reviews, interviews, speeches, and editorials, taken together, manifest the relentless activity of her mind as well as her character, acquainting the reader with the person Arendt was, and who has hardly yet been appreciated or understood. (Edited and with an introduction by Jerome Kohn)
From bestselling author of The Book of Delights and award-winning poet, a book of lyrical mini-essays celebrating the everyday that will inspire readers to rediscover the joys in the world around us. In Ross Gay’s new collection of small, daily wonders, again written over the course of a year, one of America’s most original voices continues his ongoing investigation of delight. For Gay, what delights us is what connects us, what gives us meaning, from the joy of hearing a nostalgic song blasting from a passing car to the pleasure of refusing the “nefarious” scannable QR code menus, from the tiny dog he fell hard for to his mother baking a dozen kinds of cookies for her grandchildren. As always, Gay revels in the natural world—sweet potatoes being harvested, a hummingbird carousing in the beebalm, a sunflower growing out of a wall around the cemetery, the shared bounty from a neighbor’s fig tree—and the trillion mysterious ways this glorious earth delights us. The Book of (More) Delights is a volume to savor and share.
Fiction and the Philosophy of Happiness explores the novel’s participation in eighteenth-century “inquiries after happiness,” an ancient ethical project that acquired new urgency with the rise of subjective models of wellbeing in early modern and Enlightenment Europe. Combining archival research on treatises on happiness with illuminating readings of Samuel Johnson, Laurence Sterne, Denis Diderot, Jean-Jacques Rousseau, William Godwin and Mary Hays, Brian Michael Norton’s innovative study asks us to see the novel itself as a key instrument of Enlightenment ethics. His centralargument is that the novel form provided a uniquely valuable tool for thinking about the nature and challenges of modern happiness: whereas treatises sought to theorize the conditions that made happiness possible in general, eighteenth-century fiction excelled at interrogating the problem on the level of the particular, in the details of a single individual’s psychology and unique circumstances. Fiction and the Philosophy of Happiness demonstrates further that through their fine-tuned attention to subjectivity and social context these writers called into question some cherished and time-honored assumptions about the good life: happiness is in one’s power; virtue is the exclusive path to happiness; only vice can make us miserable. This elegant and richly interdisciplinary book offers a new understanding of the cultural work the eighteenth-century novel performed as well as an original interpretation of the Enlightenment’s ethical legacy.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
A modern classic--back in print and available again. Originally published in 1988, this book draws on advances in psychology and sociology to explore the fundamental questions of what is meant by "success". Rich in fascinating case studies. Line drawings, graphs and tables.