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Arguing about Art, 2nd Editionis an expanded and revised new edition of this highly acclaimed anthology. This lively collection presents twenty-seven readings in a clear and accessible format discussing the major themes and arguments in aesthetics. Alex Neill and Aaron Ridley's introductions provide a balanced account of each topic and highlight the important questions that are raised in the readings. The new sections of the book are: The Art of Food; Rock Music and Culture; Enjoying Horror; Art and Morality; and Public Art. In addition, many of the introductions have been updated and each section includes suggestions for further reading.
After the fall of the Ottoman Empire, Mustafa Kemal Ataturk's government encouraged substantial American investment in education and aid. It was argued that Turkey needed the technical skills and wealth offered by American education, and so a series of American schools was set up across the country to educate the Turkish youth. Here, Ali Erken, in the first study of its kind, argues that these organizations had a huge impact on political and economic thought in Turkey - acting as a form of `soft power' for US national interests throughout the 20th Century. Robert College, originally a missionary school founded by US benefactors, has been responsible for educating two Turkish Prime Ministers, writers such as Orhan Pamuk and a huge number of influential economists, politicians and journalists. The end result of these American philanthropic efforts, Erken argues, was a consensus in the 1970s that the country must `westernize'. This mindset, and the opposition viewpoint it engendered, has come to define political struggle in modern Turkey - torn between a capitalist `modern' West and an Islamic `Ottoman' East. The book also reveals how and why the Rockefeller and Ford foundations funneled large amounts of money into Turkey post-1945, and undertook activities in support of `Western' candidates in Turkey as a bulwark against the Soviet Union. This is an essential contribution to the history of US-Turkish relations, and the influence of the West in Turkish political thought.
In Decent People, Norman Care explores how we may understand and be reconciled to the fragility of our moral nature. In his highly original vision of what it means to be a decent person, Care claims that our moral-emotional nature pressures us to seek relief from moralized pain - pain that comes from our awareness of our own wrongdoing, the suffering of current or future people, and our experience of indifference to moral imperatives. Care argues that decent people are neither 'pure' nor self-righteous and that they are vulnerable to the need for forgiveness. Decent people may take morality seriously, but they are not guaranteed success at its challenges.
This title sxplores the love-hate relationship between the USA and China through the experience of Chinese students caught between the two countries. The book sheds light on China's ambivelance towards the Western influence, and the use of educational and cultural exhanges as a political device.
Spanning a historical period that begins with women’s exclusion from university debates and continues through their participation in coeducational intercollegiate competitions, Debating Women highlights the crucial role that debating organizations played as women sought to access the fruits of higher education in the United States and United Kingdom. Despite various obstacles, women transformed forests, parlors, dining rooms, ocean liners, classrooms, auditoriums, and prisons into vibrant spaces for ritual argument. There, they not only learned to speak eloquently and argue persuasively but also used debate to establish a legacy, explore difference, engage in intercultural encounter, and articulate themselves as citizens. These debaters engaged with the issues of the day, often performing, questioning, and occasionally refining norms of gender, race, class, and nation. In tracing their involvement in an activity at the heart of civic culture, Woods demonstrates that debating women have much to teach us about the ongoing potential for debate to move arguments, ideas, and people to new spaces.
Claes Oldenburg’s commitment to familiar objects has shaped accounts of his career, but his associations with Pop art and postwar consumerism have overshadowed another crucial aspect of his work. In this revealing reassessment, Katherine Smith traces Oldenburg’s profound responses to shifting urban conditions, framing his enduring relationship with the city as a critical perspective and conceiving his art as urban theory. Smith argues that Oldenburg adapted lessons of context, gleaned from New York’s changing cityscape in the late 1950s, to large-scale objects and architectural plans. By examining disparate projects from New York to Los Angeles, she situates Oldenburg’s innovations in local geographies and national debates. In doing so, Smith illuminates patterns of urbanization through the important contributions of one of the leading artists in the United States.