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The importance of science and technology and future of education and research are just some of the subjects discussed here.
In this first annotated edition of F. R. Leavis' famous critique of C. P. Snow's influential argument about 'the two cultures', Stefan Collini reappraises both its literary tactics and its purpose as cultural criticism. The edition will enable new generations of readers to understand what was at stake in the dispute and to appreciate the enduring relevance of Leavis's attack on the goal of economic growth. In his comprehensive introduction Collini situates Leavis's critique within the wider context of debates about 'modernity' and 'prosperity', not just the 'two cultures' of literature and science. Collini emphasizes the difficulties faced by the cultural critic in challenging widely-held views and offers an illuminating analysis of Leavis's style. The edition provides full notes to references and allusions in Leavis's texts.
Some in the social sciences argue that the same logic applies to both qualitative and quantitative methods. In A Tale of Two Cultures, Gary Goertz and James Mahoney demonstrate that these two paradigms constitute different cultures, each internally coherent yet marked by contrasting norms, practices, and toolkits. They identify and discuss major differences between these two traditions that touch nearly every aspect of social science research, including design, goals, causal effects and models, concepts and measurement, data analysis, and case selection. Although focused on the differences between qualitative and quantitative research, Goertz and Mahoney also seek to promote toleration, exchange, and learning by enabling scholars to think beyond their own culture and see an alternative scientific worldview. This book is written in an easily accessible style and features a host of real-world examples to illustrate methodological points.
From one of today's most respected historians and cultural critics comes a new book examining the gulf in American society--a division that cuts across class, racial, ethnic, political and sexual lines. One side originated in the tradition of republican virtue, the other in the counterculture of the late 1960s. Himmelfarb argues that, while the latter generated the dominant culture of today-particularly in universities, journalism, television, and film--a "dissident culture" continues to promote the values of family, a civil society, sexual morality, privacy, and patriotism. Proposing democratic remedies for our moral and cultural diseases, Himmelfarb concludes that it is a tribute to Americans that we remain "one nation" even as we are divided into "two cultures."
This book tells the story of how the very idea of two cultures-the so-called divorce between science and the humanities-was a creation of the modern world-system. The contributors, working from a common research framework, trace the divorce of "facts" and "values" as part of the transition from feudalism to capitalism. This led to a polarization between universalist "science" and the particularist "humanities" and finally to the creation of the social sciences as an uneasy intermediary in this epistemological debate. The book addresses the contemporary attempts to overcome the division between the two cultures that emerge from science, feminism, race and ethnic studies, cultural studies, and ecology, ending with an analysis of the culture wars and the science wars. Contributors: Volkan Aytar, Ay,se Betul Celik, Mauro Di Meglio, Mark Frezzo, Ho-fung Hung, Biray Kolloupglu K3/4rl3/4, Agustin Lao- Montes, Eric Mielants, Boris Stremlin, Sunaryo, Norihisa Yamashita, Deniz Yukeseker.
The aim of the book is to encourage an in-depth discussion of problems of fundamental importance that are common to the two cultures, but that are traditionally seen from different perspectives. The forum will bring together scientists, philosophers, humanists, musicians with the aim of fostering comprehension of problems that have traditionally troubled humankind, and establish more fertile grounds for the communication between the two cultures. The themes of the contributions are the followings: the concept of time, infinity, the concept and meaning of nothingness, numbers, intelligence and the human mind, basic mechanisms in the production of thought and of artistic creation, the relationship between artistic and scientific creativity.
Essays in this volume demonstrate how science fiction can serve as a bridge between the sciences and the humanities. The essays show how early writers like Dante and Mary Shelley revealed a gradual shift toward a genuine understanding of science; how H.G. Wells first showed the possibilities of combining scientific and humanistic perspectives; how writers influenced by Gernsback's ideas, like Isaac Asimov, illustrated the ways that literature could interact with science and assist in its progress; and how more recent writers offer critiques of science and its practitioners.
"Exceptionally useful are (Aseel's) reflections on what it has meant to be a Muslim in America after September 11 . . . A fascinating multicultural coming-of-age story."--"Booklist."
Are art and science separated by an unbridgeable divide? Can they find common ground? In this new book, neuroscientist Eric R. Kandel, whose remarkable scientific career and deep interest in art give him a unique perspective, demonstrates how science can inform the way we experience a work of art and seek to understand its meaning. Kandel illustrates how reductionism—the distillation of larger scientific or aesthetic concepts into smaller, more tractable components—has been used by scientists and artists alike to pursue their respective truths. He draws on his Nobel Prize-winning work revealing the neurobiological underpinnings of learning and memory in sea slugs to shed light on the complex workings of the mental processes of higher animals. In Reductionism in Art and Brain Science, Kandel shows how this radically reductionist approach, applied to the most complex puzzle of our time—the brain—has been employed by modern artists who distill their subjective world into color, form, and light. Kandel demonstrates through bottom-up sensory and top-down cognitive functions how science can explore the complexities of human perception and help us to perceive, appreciate, and understand great works of art. At the heart of the book is an elegant elucidation of the contribution of reductionism to the evolution of modern art and its role in a monumental shift in artistic perspective. Reductionism steered the transition from figurative art to the first explorations of abstract art reflected in the works of Turner, Monet, Kandinsky, Schoenberg, and Mondrian. Kandel explains how, in the postwar era, Pollock, de Kooning, Rothko, Louis, Turrell, and Flavin used a reductionist approach to arrive at their abstract expressionism and how Katz, Warhol, Close, and Sandback built upon the advances of the New York School to reimagine figurative and minimal art. Featuring captivating drawings of the brain alongside full-color reproductions of modern art masterpieces, this book draws out the common concerns of science and art and how they illuminate each other.
Margarita is a girl from two worlds. Her heart lies in Cuba, her mother s tropical island country, a place so lush with vibrant life that it seems like a fairy tale kingdom. But most of the time she lives in Los Angeles, lonely in the noisy city and dreaming of the summers when she can take a plane through the enchanted air to her beloved island. Words and images are her constant companions, friendly and comforting when the children at school are not.