Francis Sparshott is a professor of ethics and the author of a remarkable book on aesthetics. His first collection of verse, which will fulfil the expectations of all who have been attracted to his poetry in the literary quartiles, is given distinction and a unique flavour by combining a philosopher's perceptiveness and detachment with the gusto and romanticism of a man who is devoted to the ordinary, homely experiences of life. The whole collection is pervaded by his wit, which is distilled in some excellent light verse and becomes truly comic in 'Lines for a Future Astronaut' and 'Song of Rolland', and by poetic ingenuity and arresting images. His command of formal thinking is reflected in his elegance of poetic form and in the profound ideas contained in some metaphysical poems, of which the long, important concluding poem is one.
Widely admired as one of Canada's leading philosophers, Francis Sparshott is a major figure in postwar philosophical aesthetics. In this book he presents an annotated version of the text of the four 1996 Ryle Lectures that he gave at Trent University. Addressing the nature and prospects of aesthetics as a discipline, Sparshott discusses beauty, taste, and the place of imagination, fiction, and fine art in societies. He investigates the place of such a discipline in the broad social structures provided by universities and civilizations, and tackles many perennially interesting questions about education and the life of the mind. Written with wit and charm, the lectures journey through a vast terrain of references, yet wear their learning lightly. Sparshott's engaging style and humane vision will, as always, attract a wide and diverse readership.
In a systematic overview of classical and modern contributions to aesthetics, Professor Sparshott argues that all four lines of theory, and no others, are necessary to coherent thinking about art. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
What is dance, as seen from a philosopher's point of view? Why has dance played little part in traditional philosophies of the arts? And why do these philosophies of the arts take the form they do? The distinguished aesthetician Francis Sparshott subjects these questions to a thorough examination that takes into account all forms and aspects of dance, in art and in life, and brings them within the scope of a single discussion. By showing what is involved in deciding whether something is or is not dance, and by displaying the diversity of ways in which dance can be found meaningful, he provides a new sort of background for dance aesthetics and dance criticism. At the same time he makes a far-reaching contribution to the methodology of the philosophy of art and practice. In a witty and personal style that will be familiar to readers of his earlier books, Professor Sparshott makes a distinction between dance and its neighbors (such as work, sports, and games) and points out that it is more profoundly connected to questions of self-knowledge than the other arts. Dance differs from any of the fine arts in that it can be seen, not as the manipulation of a medium, but as self-transformation. Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
This is a wonderful book, intended as a companion and guide to a reading of the Ethics . Sparshott's intention is to display the continuity of thought in the text, rather than the traditional approach of examining and criticizing individual sections. The chapters are entitled What is Best for People (I i-xii; 1094a1-1102a4), Reason in Action (I xiii-VI; 1102a5-1145a11); The Pathology of Practical Reason (VII; 1145a15-1154b34); Love, Consciousness, and Society (VIII-IX; 1155a1-1172a15); The Worth of Pleasure (X i-v; 1172a19-1176a29); and The Good Life and the Best Life: Outline of a Discourse (X vi-viii; 1176a30-1179a32), and there is an interesting appendix on the world of Aristotle's theoretical construction. All Greek is transliterated and a glossary provided for these terms. The author's love of his topic is obvious throughout this book, which is written with clarity and cogency. It deserves to be read by everyone seeking to understand Aristotle's Ethics .
What is dance, as seen from a philosopher's point of view? Why has dance played little part in traditional philosophies of the arts? And why do these philosophies of the arts take the form they do? The distinguished aesthetician Francis Sparshott subjects these questions to a thorough examination that takes into account all forms and aspects of dance, in art and in life, and brings them within the scope of a single discussion. By showing what is involved in deciding whether something is or is not dance, and by displaying the diversity of ways in which dance can be found meaningful, he provides a new sort of background for dance aesthetics and dance criticism. At the same time he makes a far-reaching contribution to the methodology of the philosophy of art and practice. In a witty and personal style that will be familiar to readers of his earlier books, Professor Sparshott makes a distinction between dance and its neighbors (such as work, sports, and games) and points out that it is more profoundly connected to questions of self-knowledge than the other arts. Dance differs from any of the fine arts in that it can be seen, not as the manipulation of a medium, but as self-transformation. Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
This is the first book in modern times that makes sense of the Nicomachean Ethics in its entirety as an interesting philosophical argument, rather than as a compilation of relatively independent essays. In Taking Life Seriously Francis Sparshott expounds Aristotle's Nicomachean Ethics as a single continuous argument, a chain of reasoned exposition on the problems of human life. He guides the reader through the whole text passage by passage, showing how every part of it makes sense in the light of what has gone before, as well as indicating problems in Aristotle's argument.No knowledge of Greek is required. When the argument does depend on the precise wording of the Greek text, translations and explanatory notes are provided, and there is a glossary of Greek terms. Sparshott offers insightful and useful criticism, making Taking Life Seriously the best available companion to a first reading of the Ethics.
In a systematic overview of classical and modern contributions to aesthetics, Professor Sparshott argues that all four lines of theory, and no others, are necessary to coherent thinking about art. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Although the theoretical importance of dance has always been recognized, dance has been relatively neglected in the philosophy of art. In this sequel to Off the Ground, in which Professor Sparshott focused on the concept of dance in general, A Measured Pace considers the recognized classification of dance as art, its values, and relationship to the other arts. Sparshott begins with an explanation of the philosophical importance of the major classifications of dance and their basis. He examines dance as a mimetic and expressive medium, and reviews the major dimensions of dance form. He then explores the relationship of dance to three related fields: music, language, and theatre. Sparshott also discusses the major philosophical problems of dance as an art: the specific values of dance; the relation between the way the audience perceives dance and the dancer's self-perception; the ways in which dancing and dances are learned; the division of artistic creation between choreographers and performers; and the ways in which dances are identified and retain their identity through time. A concluding chapter on how dances are recorded considers how the media may change the nature of dance. A Measured Pace is a wide-ranging and substantial contribution to a philosophical understanding of dance.
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