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Form and Event
Carlo Diano’s Form and Event has long been known in Europe as a major work not only for classical studies but even more for contemporary philosophy. Already available in Italian, French, Spanish, and Greek, it appears here in English for the first time, with a substantial Introduction by Jacques Lezra that situates the book in the genealogy of modern political philosophy. Form and Event reads the two classical categories of its title phenomenologically across Aristotle, the Stoics, and especially Homer. By aligning Achilles with form and Odysseus with event, Diano links event to embodied and situated subjective experience that simultaneously finds its expression in a form that objectifies ...
Cézanne and the End of Impressionism
Drawing on a broad foundation in the history of nineteenth-century French art, Richard Shiff offers an innovative interpretation of Cézanne's painting. He shows how Cézanne's style met the emerging criteria of a "technique of originality" and how it satisfied critics sympathetic to symbolism as well as to impressionism. Expanding his study of the interaction of Cézanne and his critics, Shiff considers the problem of modern art in general. He locates the core of modernism in a dialectic of making (technique) and finding (originality). Ultimately, Shiff provides not only clarifying accounts of impressionism and symbolism but of a modern classicism as well.
Reflective Authenticity
It will be essential reading for all those interested in continental philosophy, political and social theory and pyschoananlysis.
Lexical Competence
Proposes a dual picture of human lexical competence in which inferential and referential abilities are separate. Topics discussed in the text include classical issues in the philosophy of language and philosophy of mind such as semantic holism, dual-factor theories, publicness, and verificationism.
The Making of Rubens
The second problem is that of art and its consumption. Beginning with Watteau, the making of a Rubensian art is traced in the taste for Rubens in the eighteenth century in France, where many of the pictures he had kept for his own collection had found their way. In the writings of Roger de Piles and in the work of the painters to follow, art is made out of the viewing and discussing of art. A binary system of taste emerged for Rubens as contrasted with Poussin, and critical distinctions came to be fashioned in the binary terms of gender. Finally, Alpers considers creativity itself and how, as a man and as a painter, Rubens could have viewed his own generative talent. An analysis of his Munich Silenus - fleshy, intoxicated, and, following Virgil's account, disempowered as a condition of producing his songs - reveals a sense of the creative gift as humanly indeterminate and equivocal.
A Childhood
Harry Crew recounts his childhood, focusing on the people, places, and circumstances that shaped him into the author he is today.
The Twelve Steps of Forgiveness
A practical manual for healing ourselves and our relationships. This book gives us a step-by-step process for moving through our fears, projections, judgements, and guilt so that we can take responsibility for creating the life we want. With great gentleness, we learn to embrace our lessons and to find equality with others. A must read for all in recovery and others seeking spiritual wholeness.
Nazis and Good Neighbors
Table of contents
The Theory of Criticism
Our reading of the poem, Krieger concludes, must be double: we must see the poem as a linear and chronological sequence reflecting real life, and we must read it as a circular, imitative, mutually implicative mode.
