In this volume, Richard Gilmore explores film as a channel through which to engage in philosophical reflection and analyzes the relationship between philosophy and film. This book argues that philosophy and film can and should be used for the amelioration of life’s difficulties and the promotion of life’s boons. Gilmore identifies how philosophy and film complement and enrich one another and explores their relationship by connecting classic wisdom texts to significant movies. For example, the volume analyzes the Coen brothers’ films The Big Lebowski and A Serious Man in light of The Book of Job. Gilmore considers the ancient idea of philosophy as “spiritual exercise” and a way of life. The volume concludes by examining what the author labels “sublime conversations” as the highest expression of philosophy. The book identifies and dissects these conversations in movies directed by the likes of Robert Bresson, Yasujirō Ozu, Jean-Luc Godard, and Ingmar Bergman, among others.
This book considers the role of postmodernism (skepticism towards metanarratives and anti-essentialism) in Ralph Waldo Emerson's philosophy by putting it in conversation with key 20th and 21st century thinkers such as Beauvoir, Coates, Derrida, Paz, Rorty, and Zizek. Postmodern Emerson shows how Emersonian skepticism to metanarratives such as sexism, racism, Beauvoiran "serious values," and others, can help us face some of society's gravest contemporary social and philosophical challenges. Methodologically, the book exemplifies Emersonian postmodernism by defying traditional philosophical metanarratives about the difference between high and low culture or serious and ridiculous subjects, and Emerson with what would seem to be his opposite. This is itself a postmodern gesture, breaking rules of genre and topic to make unlikely but interesting connections. Above all, this book proves that in this time of social division and widespread despair, Emerson can help.
Doing Philosophy at the Movies finds the roots of profound philosophical ideas in the relatively ordinary context of popular, mostly Hollywood, movies. Richard A. Gilmore suggests that narratives of popular films like Hitchcock's Vertigo, John Ford's The Searchers, Woody Allen's Crimes and Misdemeanors, the Coen Brothers' Fargo, and Danny Boyle's Trainspotting mirror certain epiphanies in the works of great philosophers. Via Plato, Aristotle, Kant, Nietzsche, Wittgenstein, and Zðizûek, Gilmore addresses such themes as the nature of philosophy, the possibility of redemption through love, catharsis, the sublime, and the human problem of death. Gilmore argues that seeing these movies through the lens of certain philosophical ideas can show how deeply relevant both philosophy and the movies can be.
The style of Wittgenstein's writing in his Philosophical Investigations seems quite peculiar to many readers, and is in many way unlike any other style of writing in the history of philosophy. In Philosophical Health, Richard Gilmore argues that Wittgenstein's ultimate goal in the "Investigations" is to restore us to a condition of philosophical health. The traditional methods and styles of doing philosophy, Gilmore suggests, led to a strange kind of philosophical sickness. Philosophical health is a condition that does not repudiate the philosophical search or philosophical wonder, but does free us from a kind of sickness that results from looking in the wrong places for the wrong kinds of answers. According to Gilmore, Wittgenstein thought that to do philosophy in the right way we have to pay careful attention to the way we speak and think about things in our everyday lives. Philosophical Health is an original and thought-provoking look at Wittgenstein's later philosophy.
As a long-time fan of rock and a resident of Enid, Oklahoma, Richard Galbraith has attended countless concerts since the early ‘70s, and documented most of them with his photography. Led Zeppelin, Alice Cooper, the Ramones, the Sex Pistols, and Black Sabbath (among many others) have all passed through the lens of Mr. Galbraith. In his first-ever photo book, ‘Richard Galbraith Photography Presents KISS,’ the reader is offered a glimpse of almost every single major concert the masked quartet played in Oklahoma from 1976 through 1986 (close to 100 never-before-seen pix), along with notes from Richard. Get ready to rock!
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
William E. DePuy was likely the most important figure in the recovery of the United States Army from its collapse after the defeat in Vietnam. That is a rather large claim, and it suggests a precedence over a number of other distinguished officers, both his contemporaries and successors. But it is a claim that can be justified by the test of the “null hypothesis:” Could the Army that conducted the Gulf War be imagined without the actions of General DePuy and those he instructed and inspired? Clearly, it could not. There are a few officers of the period about whom one can make the same claim. To judge properly the accomplishments of General DePuy and his talented subordinates at the US Army Training and Doctrine Command (TRADOC), one must understand the sense of crises and defeat that pervaded the Army in the 1970s. By 1973, the United States had lost the war in Vietnam. Only the most optimistic or naïve observer held out hope that the Geneva Accords would provide security for the Republic of South Vietnam. The US Army was in a shambles, with discipline destroyed and the chain of command almost nonexistent. The “All Volunteer Army” was borne on a wave of permissiveness that compounded the problems of restoring discipline. Moreover, the army was ten years behind its most likely enemy in equipment development, and it had no warfighting doctrine worthy of the same. With the able assistance of the commander of the Armor Center, General Donn Starry, General DePuy wrenched the Army from self-pity and recrimination about its defeat in Vietnam into a bruising doctrinal debate that focused the Army's intellectual energies on mechanized warfare against a first-class opponent. Critics might argue correctly that that the result was incomplete, but they out not to underestimate how far the Army had to come just to begin the discussion. General DePuy also changed the way Army battalions prepared for war. He made the US Army a doctrinal force for the first time in history. Ably seconded by General Paul Gorman, DePuy led the Army into the age of the Army Training and Evaluation Program (ARTEP). The intellectual and training initiatives were joined then, with a third concern of General DePuy's TRADOC: the development of a set of equipment requirements, with a concentration of effort on a limited number, ultimately called the “Big Five.” The result was the suite of weapons that overmatched the Iraqis in Operation Desert Storm – Apache attack helicopters, M1 tanks, Bradley fighting vehicles, Patriot air defense missiles, and Black Hawk assault helicopters. General DePuy championed the recruitment of a high-quality soldiery, an effort beyond his own significant responsibilities but, even so, one he never ceased to support and forward.
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