A vibrant and original perspective on the American Revolution through the stories of the five great artists whose paintings animated the new American republic. The images accompanying the founding of the United States--of honored Founders, dramatic battle scenes, and seminal moments--gave visual shape to Revolutionary events and symbolized an entirely new concept of leadership and government. Since then they have endured as indispensable icons, serving as historical documents and timeless reminders of the nation's unprecedented beginnings. As Paul Staiti reveals in Of Arms and Artists, the lives of the five great American artists of the Revolutionary period--Charles Willson Peale, John Singleton Copley, John Trumbull, Benjamin West, and Gilbert Stuart--were every bit as eventful as those of the Founders with whom they continually interacted, and their works contributed mightily to America's founding spirit. Living in a time of breathtaking change, each in his own way came to grips with the history they were living through by turning to brushes and canvases, the results often eliciting awe and praise, and sometimes scorn. Their imagery has connected Americans to 1776, allowing us to interpret and reinterpret the nation's beginning generation after generation. The collective stories of these five artists open a fresh window on the Revolutionary era, making more human the figures we have long honored as our Founders, and deepening our understanding of the whirlwind out of which the United States emerged.
A vibrant and original perspective on the American Revolution through the stories of the five great artists whose paintings animated the new American republic. The images accompanying the founding of the United States--of honored Founders, dramatic battle scenes, and seminal moments--gave visual shape to Revolutionary events and symbolized an entirely new concept of leadership and government. Since then they have endured as indispensable icons, serving as historical documents and timeless reminders of the nation's unprecedented beginnings. As Paul Staiti reveals in Of Arms and Artists, the lives of the five great American artists of the Revolutionary period--Charles Willson Peale, John Singleton Copley, John Trumbull, Benjamin West, and Gilbert Stuart--were every bit as eventful as those of the Founders with whom they continually interacted, and their works contributed mightily to America's founding spirit. Living in a time of breathtaking change, each in his own way came to grips with the history they were living through by turning to brushes and canvases, the results often eliciting awe and praise, and sometimes scorn. Their imagery has connected Americans to 1776, allowing us to interpret and reinterpret the nation's beginning generation after generation. The collective stories of these five artists open a fresh window on the Revolutionary era, making more human the figures we have long honored as our Founders, and deepening our understanding of the whirlwind out of which the United States emerged.
This is the definitive study of one of America's major artists and inventors, Samuel F.B. Morse (1791-1872). It covers his prodigious achievements in painting and technology, his passionate cultural ambitions, and his key role in the historic development of American art. The book imaginatively combines intellectual biography with interpretation of more than one hundred pictures. Three chapters consider Morse's most extraordinary artistic achievements: The House of Representatives, The Gallery of the Louvre, and The National Academy of Design. In a final chapter on the electromagnetic telegraph, an invention that imprinted his name on our language, there is a special discussion of the conceptual relationship between artistic and mechanical inventions.
A fresh look at a nineteenth-century Jewish philosopher whose theology offers a beacon in an illiberal twenty-first century world: “Recommended.” —Choice Hermann Cohen is often held to be one of the most important Jewish philosophers of the nineteenth century. Paul E. Nahme, in this new consideration of Cohen, liberalism, and religion, emphasizes the idea of enchantment, or the faith in and commitment to ideas, reason, and critique—the animating spirits that move society forward. Nahme views Cohen through the lenses of the crises of Imperial Germany—the rise of antisemitism, nationalism, and secularization—to come to a greater understanding of liberalism, its Protestant and Jewish roots, and the spirits of modernity and tradition that form its foundation. Nahme’s philosophical and historical retelling of the story of Cohen and his spiritual investment in liberal theology present a strong argument for religious pluralism and public reason in a world rife with populism, identity politics, and conspiracy theories.
What is early modern philosophy? Two interpretative trends have predominated in the related literature. One, with roots in the work of Hegel and Heidegger, sees early modern thinking either as the outcome of a process of gradual rationalization (leading to the principle of sufficient reason, and to “ontology” as distinct from metaphysics), or as a reflection of an inherent subjectivity or representational semantics. The other sees it as reformulations of medieval versions of substance and cause, suggested by, or leading to, early modern scientific developments. This book proposes a rather different kind of explanation. It suggests that the concept of relation, specifically that of dyadic, anti-symmetrical relations, can throw light on a wide variety of developments in early modern thought, such as those concerning causality, sense perception, temporality, and the mereological approach to substance. The book argues that these relations are grounded in an interpretation of causal influence, and not in semantic theories or subjectivity. Furthermore, if it is correct that the problem of unity was, for most of classical antiquity, what the problems of motion, causality and perception were for early modern thinkers, then early modern thought is much closer to the thought of Aristotle than is commonly supposed. The genesis of early modern thought might instead be taken to have occurred in opposition to one aspect of the thought of Duns Scotus (an aspect that lives on in contemporary Neo-Aristotelianism), and that can be explained once the relational perspective examined here is taken into account.
How the computer became universal. Over the past fifty years, the computer has been transformed from a hulking scientific supertool and data processing workhorse, remote from the experiences of ordinary people, to a diverse family of devices that billions rely on to play games, shop, stream music and movies, communicate, and count their steps. In A New History of Modern Computing, Thomas Haigh and Paul Ceruzzi trace these changes. A comprehensive reimagining of Ceruzzi's A History of Modern Computing, this new volume uses each chapter to recount one such transformation, describing how a particular community of users and producers remade the computer into something new. Haigh and Ceruzzi ground their accounts of these computing revolutions in the longer and deeper history of computing technology. They begin with the story of the 1945 ENIAC computer, which introduced the vocabulary of "programs" and "programming," and proceed through email, pocket calculators, personal computers, the World Wide Web, videogames, smart phones, and our current world of computers everywhere--in phones, cars, appliances, watches, and more. Finally, they consider the Tesla Model S as an object that simultaneously embodies many strands of computing.
Aesthetic Materialism: Electricity and American Romanticism focuses on American romantic writers' attempts to theorize aesthetic experience through the language of electricity. In response to scientific and technological developments, most notably the telegraph, eighteenth- and nineteenth-century electrical imagery reflected the mysterious workings of the physical mind as well as the uncertain, sometimes shocking connections between individuals. Writers such as Whitman, Melville, and Douglass drew on images of electricity and telegraphy to describe literature both as the product of specific economic and social conditions and as a means of transcending the individual determined by such conditions. Aesthetic Materialism moves between historical and cultural analysis and close textual reading, challenging readers to see American literature as at once formal and historical and as a product of both aesthetic and material experience.
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