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This book brings together a series of related essays by a philosopher principally addressing the controversial question, «What is art?», and considering, too, such connected questions as aesthetic value, moral value and natural beauty. The book addresses the concerns of contemporary philosophical aesthetics and the philosophy of art; it pays some attention too to influential figures in the history of aesthetics, such as Schopenhauer, and is written in an untechnical style which will make it accessible to everyone with an interest in, and concern for, the arts.
Thomas Nagel is widely recognized as one of the top American philosophers working today. Reflecting the diversity of his many philosophical preoccupations, this volume is a collection of his most recent critical essays and reviews. The first section, Public and Private, focuses on the notion of privacy in the context of social and political issues, such as the impeachment of President Clinton. The second section, Right and Wrong, discusses moral, political and legal theory, and includes pieces on John Rawls, G.A. Cohen, and T.M. Scanlon, among others. The final section, Mind and Reality, features discussions of Richard Rorty, Donald Davidson, and the Sokal hoax, and closes with a substantial new essay on the mind-body problem. Written with characteristic rigor, these pieces reveal the intellectual passion underlying the incisive analysis for which Nagel is known.
From the previous published essays of New York author Gary Beck, comes The Republic of Dreams. A collection of his best essays with concerns for the the modern world and its interaction with the government body that rules over it. "A thought provoking collection for the modern age and future."-Alexis Allinson
Containing fifty-four chapters written by leading international scholars and covering all aspects of aesthetics, this fully revised second edition includes eight new entries and updated further reading.
No work of Spanish philosopher and essayist José Ortega y Gasset has been more frequently cited, admired, or criticized than his defense of modernism, "The Dehumanization of Art." In the essay, originally published in Spanish in 1925, Ortega grappled philosophically with the newness of nonrepresentational art and sought to make it more understandable to a public confused by it. Many embraced the essay as a manifesto extolling the virtues of vanguard artists and promoting their efforts to abandon the realism and the romanticism of the nineteenth century. The "dehumanization" of the title, which was meant descriptively rather than pejoratively, referred most literally to the absence of human forms in nonrepresentational art, but also to its insistent unpopularity, its indifference to the past, and its iconoclasm. Ortega championed what he saw as a new cultural politics with the goal of a total transformation of society. Ortega was an immensely gifted writer in the best belletristic tradition. His work has been compared to an iceberg because it hides the critical mass of its erudition beneath the surface, and because it is deceptive, appearing to be more spontaneous and informal than it really is. Princeton published the first English translation of the essay paired with another entitled "Notes on the Novel." Three essays were later added to make an expanded edition, published in 1968, under the title The Dehumanization of Art and Other Essays on Art, Culture and Literature .
This book is not a study of Plato's philosophy, but a contribution to the literary interpretation of the dialogues, through analysis of their formal structure, characterisation, language and imagery. Among the dialogues considered in these interrelated essays are some of Plato's most admired and influential works, including the Gorgias, the Symposium, the Republic and the Phaedrus. Special attention is paid to the personality of Socrates, Plato's remarkable mentor, and to his interaction with the other characters in the dialogues. Rutherford also includes detailed discussion of particular problems such as the sources for our knowledge of Socrates, the origins of the dialogue form, Plato's use of myth, and the 'totalitarianism' of the Republic. The combination of sympathetic literary criticism with exact historical scholarship gives The Art of Plato its special qualities.
Van Jones said it well: "If we're going to end this fiscal madness and start rebuilding America, we're going to have to get creative We need a tsunami of music, film, poetry and art. The Culture of Possibility shows us how creativity can take our story back from Corporation Nation, tilting the culture towards justice, equity, and innovation. I urge you to read this book " We are in the midst of seismic cultural change. In the old paradigm, priorities are shaped by a mechanistic worldview that privileges whatever can be numbered, measured, and weighed; human beings are pressured to adapt to the terms set by their own creations. How we feel, how we connect, how we spend our time, how we make our way and come to know each other-these are all part of the scenery. In the new paradigm, things are given their true value. People care passionately about how they and the things they value are depicted. They revive themselves after a long workday with music or dance, by making something beautiful for themselves or their loved ones, by expressing their deepest feelings in poetry or watching a film that never fails to comfort. In the new paradigm, it is understood that culture prefigures economics and politics; it molds markets; and it expresses and embodies the creativity and resilience that are the human species' greatest strengths. The bridge between paradigms is being built by artists and others who have learned to deploy artists' cognitive, imaginative, empathic, and narrative skills. The bridge is made of the stories that the old paradigm can't hear, the lives that it doesn't count, the imagined future it can't encompass. Using first-person stories, drawing on both history and headlines, embracing new knowledge from education, medicine, cognitive science, spirituality, politics, and other realms, The Culture of Possibility shows why, how, and where we can build a bridge to a sustainable future.
Acute Melancholia and Other Essays deploys spirited and progressive approaches to the study of Christian mysticism and the philosophy of religion. Ideal for novices and experienced scholars alike, the volume makes a forceful case for thinking about religion as both belief and practice, in which traditions marked by change are passed down through generations, laying the groundwork for their own critique. Through a provocative integration of medieval sources and texts by Jacques Derrida, Judith Butler, Talal Asad, and Dipesh Chakrabarty, this book redefines what it means to engage critically with history and those embedded within it.
A National Book Critics Circle Finalist for Criticism A deeply Malcolmian volume on painters, photographers, writers, and critics. Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction—as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which becomes a dazzling portrait of an artist. Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight." Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature." One of Publishers Weekly's Best Nonfiction Books of 2013