Telegraphic Realism demonstrates the connections between British nineteenth-century fiction, media technologies, and developing ideas about information, from the postage stamp to wireless.
Isaac Newton was indisputably one of the greatest scientists in history. His achievements in mathematics and physics marked the culmination of the movement that brought modern science into being. Richard Westfall's biography captures in engaging detail both his private life and scientific career, presenting a complex picture of Newton the man, and as scientist, philosopher, theologian, alchemist, public figure, President of the Royal Society, and Warden of the Royal Mint. An abridged version of his magisterial study Never at Rest (Cambridge, 1980), this concise biography makes Westfall's highly acclaimed portrait of Newton newly accessible to general readers.
Jails and prisons are the only settings in which people are held against their will, possibly for long periods of time, and often with no pretense of doing so for their personal benefit. Occupants have little if any control over their lives, as, for instance, the most basic assumptions about privacy to dress, shower, and use the toilet are violated. This book addresses the impact of environmental design on inmates and staff members in jails and prisons and shows how design can dramatically affect the level of stress and violence.
Located on the western edge of Lake Erie and at the mouth of the Maumee River, Toledo developed rapidly as a port and industrial and transportation center in the 19th and 20th centuries. Beginning in the early 1870s, Polish immigrants were found among the German settlers. By 1882, there were two Polish parishes established in two distinct Polish neighborhoods (Lagrinka in North Toledo and Kuszwanc in South Toledo) that continued to grow and expand through the mid-20th century. Toledo's Polish community was numbered among the 10 largest in the country and was home to the Paryski Publishing Company, which printed more than three million books in the Polish language. This book illustrates how people lived, worshipped, socialized, celebrated life, and maintained their ethnic heritage while also becoming patriotic Americans.
German-Jewish political philosopher Hannah Arendt (1906–75) fled from the Nazis to New York in 1941, and during the next thirty years in America she wrote her best-known and most influential works, such as The Human Condition, The Origins of Totalitarianism, and On Revolution. Yet, despite the fact that a substantial portion of her oeuvre was written in America, not Europe, no one has directly considered the influence of America on her thought—until now. In Arendt and America, historian Richard H. King argues that while all of Arendt’s work was haunted by her experience of totalitarianism, it was only in her adopted homeland that she was able to formulate the idea of the modern republic as an alternative to totalitarian rule. Situating Arendt within the context of U.S. intellectual, political, and social history, King reveals how Arendt developed a fascination with the political thought of the Founding Fathers. King also re-creates her intellectual exchanges with American friends and colleagues, such as Dwight Macdonald and Mary McCarthy, and shows how her lively correspondence with sociologist David Riesman helped her understand modern American culture and society. In the last section of Arendt and America, King sets out the context in which the Eichmann controversy took place and follows the debate about “the banality of evil” that has continued ever since. As King shows, Arendt’s work, regardless of focus, was shaped by postwar American thought, culture, and politics, including the Civil Rights Movement and the Cold War. For Arendt, the United States was much more than a refuge from Nazi Germany; it was a stimulus to rethink the political, ethical, and historical traditions of human culture. This authoritative combination of intellectual history and biography offers a unique approach for thinking about the influence of America on Arendt’s ideas and also the effect of her ideas on American thought.
In the turbulent years after World War I, a transpacific community of American and Chinese writers and artists emerged to forge new ideas regarding aesthetics, democracy, internationalism, and the political possibilities of art. Breaking with preconceived notions of an "exotic" East, the Americans found in China and in the works of Chinese intellectuals inspiration for leftist and civil rights movements. Chinese writers and intellectuals looked to the American tradition of political democracy to inform an emerging Chinese liberalism. This interaction reflected an unprecedented integration of American and Chinese cultures and a remarkable synthesis of shared ideals and political goals. The transpacific community that came together during this time took advantage of new advances in technology and media, such as the telegraph and radio, to accelerate the exchange of ideas. It created a fast-paced, cross-cultural dialogue that transformed the terms by which the United States and China—or, more broadly, "West" and "East"—knew each other. Transpacific Community follows the left-wing journalist Agnes Smedley's campaign to free the author Ding Ling from prison; Pearl Buck's attempt to fuse Jeffersonian democracy with late Qing visions of equality in The Good Earth; Paul Robeson's collaboration with the musician Liu Liangmo, which drew on Chinese and African American traditions; and the writer Lin Yutang's attempt to create a typewriter for Chinese characters. Together, these individuals produced political projects that synthesized American and Chinese visions of equality and democracy and imagined a new course for East-West relations.
Unravelling the thought of Alexander Kluge and Oskar Negt Collaborators for more than four decades, lawyer, author, filmmaker, and multimedia artist Alexander Kluge and social philosopher Oskar Negt are an exceptional duo in the history of Critical Theory precisely because their respective disciplines think so differently. Dark Matter argues that what makes their contributions to the Frankfurt School so remarkable is how they think together in spite of these differences. Kluge and Negt's "gravitational thinking" balances not only the abstractions of theory with the concreteness of the aesthetic, but also their allegiances to Frankfurt School mentors with their fascination for other German, French, and Anglo-American thinkers distinctly outside the Frankfurt tradition. At the core of all their adventures in gravitational thinking is a profound sense that the catastrophic conditions of modern life are not humankind's unalterable fate. In opposition to modernity's disastrous state of affairs, Kluge and Negt regard the huge mass of dark matter throughout the universe as the lodestar for thinking together with others, for dark matter is that absolute guarantee that happier alternatives to our calamitous world are possible. As illustrated throughout Langston's study, dark matter's promise--its critical orientation out of catastrophic modernity--finds its expression, above all, in Kluge's multimedia aesthetic.
Hilariously informative…This book will remind you why you always wanted to be a naturalist." —Outside In this thrilling foray into the animal kingdom, Richard Conniff takes readers on an adventure-packed journey as he courts the most dangerous animals and lives to tell the tale. He lets African wild dogs sniff his neck to test the idea that they are vicious man-eaters, sticks his hand in a fire ant mound and does multiple takes for a pretty camerawoman on a television shoot, and flings chicken carcasses into piranha-infested waters to clock how quickly they disappear—before diving in himself. This collection offers a rare chance to go along on these death-defying treks and see life through the eyes of a bona-fide field naturalist.
A book of landmark importance. It is unprecedented in its design: a brilliantly selected group of essays on music coupled with lucid, deeply incisive, and in every way masterly analysis of Adorno's thinking about music. No one who studies Adorno and music will be able to dispense with it; and if they can afford only one book on Adorno and music, this will be the one. For in miniature, it contains everything one needs: a collection of exceptionally important writings on all the principal aspects of music and musical life with which Adorno dealt; totally reliable scholarship; and powerfully illuminating commentary that will help readers at all levels read and re-read the essays in question."—Rose Rosengard Subotnik, author of Deconstructive Variations: Music and Reason in Western Society "An invaluable contribution to Adorno scholarship, with well chosen essays on composers, works, the culture industry, popular music, kitsch, and technology. Leppert's introduction and commentaries are consistently useful; his attention to secondary literature remarkable; his interpretation responsible. The new translations by Susan Gillespie (and others) are outstanding not only for their care and readability, but also for their sensitivity to Adorno's forms and styles."—Lydia Goehr, author of The Quest for Voice: Music, Politics and the Limits of Philosophy "With its careful, full edition of Adorno's important musical texts and its exhaustive yet eminently readable commentaries, Richard Leppert's magisterial book represents a brilliant solution to the age-old dilemma of bringing together primary text and interpretation in one volume."—James Deaville, Director, School of the Arts, McMaster University "The developing variations of Adorno's life-long involvement with musical themes are fully audible in this remarkable collection. What might be called his 'literature on notes' brilliantly complements the 'notes to literature' he devoted to the written word. Richard Leppert's superb commentaries constitute a book-length contribution in their own right, which will enlighten and challenge even the most learned of Adorno scholars."—Martin Jay, author of The Dialectical Imagination: A History of The Frankfurt School and the Institute of Social Research "There is afoot in Anglo-American musicology today the first wholesale reconsideration of Adorno's thought since the pioneering work of Rose Rosengard Subotnik around 1980. Essays on Music will play a central role in this effort. It will do so because Richard Leppert has culled Adorno's writings so as to make clear to musicologists the place of music in the broad critique of modernity that was Adorno's overarching project; and it will do so because Leppert has explained these writings, in commentaries that amount to a book-length study, so as to reveal to non-musicologists the essentially musical foundation of this project. No one interested in Adorno from any perspective—or, for that matter, in modernity and music all told—can afford to ignore Essays on Music."—Gary Tomlinson, author of Metaphysical Song: An Essay on Opera "This book is both a major achievement by its author-editor and a remarkable act of scholarly generosity for the rest of us. Until now, English translations of Adorno's major essays on music have been scattered and often unreliable. Until now, there has been no comprehensive scholarly treatment of Adorno's musical thinking. This volume remedies both problems at a single stroke. It will be read equally—and eagerly—for Adorno's texts and for Richard Leppert's commentary on them, both of which will continue to be essential resources as musical scholarship seeks increasingly to come to grips with the social contexts and effects of music. No one knows Adorno better than Leppert, and no one is better equipped to clarify the complex interweaving of sociology, philosophy, and musical aesthetics that is central to Adorno's work. From now on, everyone who reads Adorno on music, whether a beginner or an expert, is in Richard Leppert's debt for devoting his exceptional gifts of learning and lucidity to this project."—Lawrence Kramer, author of Musical Meaning: Toward a Critical History
This richly detailed 1981 biography captures both the personal life and the scientific career of Isaac Newton, presenting a fully rounded picture of Newton the man, the scientist, the philosopher, the theologian, and the public figure. Professor Westfall treats all aspects of Newton's career, but his account centres on a full description of Newton's achievements in science. Thus the core of the work describes the development of the calculus, the experimentation that altered the direction of the science of optics, and especially the investigations in celestial dynamics that led to the law of universal gravitation.
Offers full coverage of Native American athletes and athletics from historical, cultual and indigenous perspectives, from before European intervention to the 21st century. There are entries devoted to broader cultural themes, and how these affect and are affected by the sport.
Richard Eldridge explores the ability of dense and formally interesting literature to respond to the complexities of modern life. Beyond simple entertainment, difficult modern works cultivate reflective depth and help their readers order and interpret their lives as subjects in relation to complex economies and technological systems. By imagining themselves in the role of the protagonist or the authorial persona, readers become immersed in structures of sustained attention, under which concrete possibilities of meaningful life, along with difficulties that block their realization, are tracked and clarified. Literary form, Eldridge argues, generates structures of care, reflection, and investment within readers, shaping if not stabilizing their interactions with everyday objects and events. Through the experience of literary forms of attention, readers may come to think and live more actively, more fully engaging with modern life, rather than passively suffering it. Eldridge considers the thought of Descartes, Kant, Adorno, Benjamin, Stanley Cavell, and Charles Taylor in his discussion of Goethe, Wordsworth, Rilke, Stoppard, and Sebald, advancing a philosophy of literature that addresses our desire to read and the meaning and satisfaction that literary attention brings to our fragmented modern lives.
“Deeply researched and clearly written . . . a wide-ranging and detailed account of Kentucky’s society, economy, and politics during World War II.” —John W. Jeffries, author of Wartime America When World War II broke out in Europe in September 1939, Kentucky was still plagued by the Great Depression. Even though the inevitably of war had become increasingly apparent earlier that year, the citizens of the Commonwealth continued to view foreign affairs as a lesser concern compared to issues such as the lingering economic depression, the approaching planting season, and the upcoming gubernatorial race. It was only the Japanese attack on Pearl Harbor that destroyed any lingering illusions of peace. In Committed to Victory: The Kentucky Home Front During World War II, author Richard Holl offers the first comprehensive examination of the Commonwealth’s civilian sector during this pivotal era in the state’s history. National mobilization efforts rapidly created centers of war production and activity in Louisville, Paducah, and Richmond, producing new economic prosperity in the struggling region. The war effort also spurred significant societal changes, including the emergence of female and minority workforces in the state. In the Bluegrass, this trend found its face in Pulaski County native Rose Will Monroe, who was discovered as she assembled B-24 and B-29 bombers and was cast as Rosie the Riveter in films supporting the war effort. Revealing the struggles and triumphs of civilians during World War II, Holl illuminates the personal costs of the war, the black market for rationed foods and products, and even the inspiration that coach Adolph Rupp and the University of Kentucky basketball team offered to a struggling state.
Current philosophies of art remain sadly dominated by visions of its end and lamentations of decline. Defining the very notions of art and the aesthetic as special products of Western modernity, they suggest that postmodern challenges to traditional high culture pose a devastating danger to art's future. Richard Shusterman's new book cuts through the seductive confusions of these views by tracing the earthy roots of aesthetic experience and showing how the recent flourishing of aesthetic forms outside modernity's sacralized realm of fine art evince the persistent presence of an artistic impulse far deeper and more durable than the modernist moment. Performing Live defends the abiding power of aesthetic experience by exploring its diverse roles, methods, and meanings, especially in fields marginal to traditional aesthetics but now most vibrantly alive in today's culture and new media. Ranging from rap, techno, and country music to cinema, cyberspace and urban design, Shusterman develops his radical theory of "somaesthetics," charting the complex network of bodily arts so prominent in contemporary life and self-styling. By blending concrete aesthetic analysis with insightful social critique, Shusterman, a well-known pragmatist philosopher, provides a rich menu and critical guide for today's pursuit of the art of living.
Challenges of Mapping the Classical World collects together in one volume fourteen varied items written by Richard Talbert over the past thirty years. They cohere around the theme of mapping the classical world since the nineteenth century. All were originally prompted by Talbert’s commission in the late 1980s to produce a definitive classical atlas after more than a century of failed attempts by the Kieperts and others. These he evaluates, as well as probing the Smith/Grove atlas, a successful twenty-year initiative launched in the mid-1850s, with a cartographic approach that departs radically from established practice. Talbert’s initial vision for the international collaborative project that resulted in the Barrington Atlas of the Greek and Roman World (2000) is presented, and the successive twice-yearly reports on its progress from 1991 through to completion are published here for the first time. A further item reflects retrospectively on the project’s cartographic challenges and on how developments in digital map production were decisive in overcoming them. This volume will be invaluable to anyone with an interest in the development and growing impact of mapping the classical world.
Placebo responses are automatic and unconscious and cannot be predicted on conscious volition. Instead, they reflect complex interactions between the innate reward system of the nervous system and encoded procedural memories and imaginal fantasies. This book contributes therapeutic effects, varies in potency, and exhibits its own pathologies.
Kill Boxes addresses the legacy of US-sponsored torture, indefinite detention, and drone warfare by deciphering the shocks of recognition that humanistic and artistic responses to violence bring to consciousness if readers and viewers have eyes to face them.Beginning with an analysis of the ways in which the hooded man from Abu Ghraib became iconic, subsequent chapters take up less culturally visible scenes of massive violations of human rights to bring us face to face with these shocks and the forms of recognition that they enable and disavow. We are addressed in the photo of the hooded man, all the more so as he was brutally prevented, in our name, from returning the camera's and thus our gaze. We are addressed in the screams that turn a person, tortured in our name, into howling flesh. We are addressed in poems written in the Guantánamo Prison camp, however much American authorities try to censor them, in our name. We are addressed by the victims of the US drone wars, however little American citizens may have heard the names of the places obliterated by the bombs for which their taxes pay. And we know that we are addressed in spite of a number of strategies of brutal refusal of heeding those calls.Providing intensive readings of philosophical texts by Jean Améry, Jacques Derrida, and Christian Thomasius, with poetic texts by Franz Kafka, Paul Muldoon, and the poet-detainees of Guantánamo Bay Prison Camp, and with artistic creations by Sallah Edine Sallat, the American artist collective Forkscrew and an international artist collective from Pakistan, France and the US, Kill Boxes demonstrates the complexity of humanistic responses to crimes committed in the name of national security. The conscious or unconscious knowledge that we are addressed by the victims of these crimes is a critical factor in discussions on torture, on indefinite detention without trial, as practiced in Guantánamo, and in debates on the strategies to circumvent the latter altogether, as practiced in drone warfare and its extrajudicial assassination program.The volume concludes with an Afterword by Richard Falk.
Contemporaries and historians have found it difficult to interpret the ambiguous relationship between National Socialism and Christianity. Both the Catholic and Protestant Churches tended to agree with National Socialists in their authoritarianism, their attacks on socialism and communism, and their campaign against the Versailles Treaty; but the doctrinal position of the Churches could not be reconciled with the principle of racism, a foreign policy of unlimited aggressive warfare, or a domestic agenda involving the complete subservience of Church to State. Important sections of the Nazi Party sought the complete extirpation of Christianity and its substitution by a purely racial religion, but considerations of expediency made it impossible for the National Socialist leadership to adopt this radical anti-Christian stance as official policy. The Kulturkampf Newsletters, which have not appeared in English since the 1930s, were produced by German Catholic exiles in France. They scrupulously document the tensions between various strands of Nazi policy, and the nature of the policy eventually adopted: this was to reduce the Churches' influence in all areas of public life through the use of every available means, yet without provoking the difficulties - diplomatic as well as domestic - which an openly declared war of extermination might have caused.
In an age where art history’s questions are now expected to receive answers, Richard Shiff presents a challenging alternative. In this essential new addition to James Elkins’s series Theories of Modernism and Postmodernism in the Visual Arts, Richard Shiff embraces doubt as a critical tool and asks how particular histories of art have come to be. Shiff’s turn to doubt is not a retreat to relativism, but rather an insistence on clear thinking about art. In particular, Shiff takes issue with the style of self-referential art writing seemingly 'licensed' by Roland Barthes. With an introduction by Rosie Bennett, Doubt is a study of the tension between practicing art and practicing criticism.
The Baroque period was in some senses the beginning of modern Western scientific and intellectual culture-the early budding of the Enlightenment. In the light of a new scientific and historical consciousness, it saw the rise of deism and the critique of traditional forms of Christianity. Secular values and institutions were openly or surreptitiously replacing the structures of traditional Christian society. At the same time, there was also a trend of religious renewal and the reaffirmation of tradition. In Roman Catholicism, the Patristic, medieval, and Tridentine paradigms were subsumed into a powerful Counter-Reformation spirituality, propagated not only in books, treatises, and sermons, but also in music and in the works of what was arguably the last period of great sacred art. It inspired masters like Bernini, Reni, Rubens, Velázquez, Zurbarán, and Van Dyck. In the Protestant traditions, the Reformation movement found affective expression in new forms of music produced by Monteverdi, Scarlatti, Handel, Telemann, and Bach. The title, The Pathos of the Cross, points to a major aspect of the spirituality of this period: a dramatic portrayal of the events of Christ's passion meant to provoke an emotional response from the viewer and listener. Many works of the period retain their emotional pull centuries later, even though the theology they represent has been challenged and frequently rejected. This volume traces the ways in which Roman Catholic and Protestant theologies of the period proclaimed the centrality of the cross of Christ to human salvation. In a parallel movement, it illustrates how musical and artistic works of the period were both inspired and informed by these theologies, and how they moved beyond them in an aesthetic mediation of faith.
Reconstructing the literary and philosophical reaction to Adam Smith's dictum that man is a labouring animal above and before all else, this study explores the many ways in which Romantic writers presented idle contemplation as the central activity in human life. By contrasting the British response to Smith's political economy with that of contemporary German Idealists, Richard Adelman also uses this consideration of the importance of idleness to Romantic aesthetics to chart the development of a distinctly British idealism in the last decades of the eighteenth century. Exploring the work of Adam Smith, Jeremy Bentham, Friedrich Schiller, William Cowper, Samuel Taylor Coleridge, Mary Wollstonecraft and many of their contemporaries, this study pinpoints a debate over human activity and capability taking place between 1750 and 1830, and considers its social and political consequences for the cultural theory of the early nineteenth century.
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