I am a professor of philosophy, specializing in the philosophy of art at the Graduate Center of the City University of New York. When I was a practicing critic, notably of cinema, I backed into philosophy insofar as being a practitioner forced me to ask abstract questions about what I was doing. I have written over fifteen books as well as five documentaries. I am also a former Guggenheim fellow.
This book is an amazing combination of the philosophy of art, the philosophy of art history, and art criticism. The late Arthur Danto was not only a distinguished philosopher but also an award-winning art critic. In this book, Danto tracks the decline and fall of Modernism (which he describes as “the end of art”) and the advent of our present artistic moment which can be critically characterized as an era of post-historical pluralism. Danto, following GFW Hegel, proposes a partial definition of the artwork as an embodied meaning – thereby addressing the challenge to say what art is -- as it was posed by Clive Bell.
Originally delivered as the prestigious Mellon Lectures on the Fine Arts in 1995, After the End of Art remains a classic of art criticism and philosophy, and continues to generate heated debate for contending that art ended in the 1960s. Arthur Danto, one of the best-known art critics of his time, presents radical insights into art's irrevocable deviation from its previous course and the decline of traditional aesthetics. He demonstrates the necessity for a new type of criticism in the face of contemporary art's wide-open possibilities. This Princeton Classics edition includes a new foreword by philosopher Lydia Goehr.
I was born in England to Australian parents and have lived most of my life in Australia. My family all live there, and I grew up in Sydney. Most of my books have been about Australian-related themes or historical figures. I don’t think enough is known about Australian history outside Australia. Australian writers have always struggled for recognition outside Australia. Publishing can be an unfair business. I’m more interested in reading nonfiction than fiction. True stories are much harder to write and get right, and there’s a bigger responsibility involved. You’re dealing with real people. The dead ones also have families.
This is probably the best, most exhilarating book about modern art I’ve ever read, written by one of the most erudite writers who ever lived. I read it when I was about 11 or 12, and it made me passionate about art and art history.
Hughes was such a good writer, and he made me want to get into writing myself. The BBC made a series based on the book.
This legendary book has been universally hailed as the best, the most readable and the most provocative account of modern art ever written.
Through each of the thematic chapters Hughes keeps his story grounded in the history of the 20th century, demonstrating how modernism sought to describe the experience of that era and showing how for many key art movements this was a task of vital importance.
The way in which Hughes brings that vitality and immediacy back through the well-chosen example and well-turned phrase is the heart of this book's success.
In 1972, I started an early childhood center in the Monadnock Region in New Hampshire. The focus was on child-centered education, with an emphasis on working with children outdoors. I've spent the last 50 years continuing to connect children with nature in schools, nature centers, national parks, museums, and in families. I taught graduate courses in developmental psychology, cognitive development, place-based education and have done hundreds of professional development workshops for early childhood and elementary school teachers. As a father, I focused on connecting my own children with nature. My son is a ski coach and runs an ecotourism kayaking business. My daughter is a theater director and writes grants for an environmental non-profit.
The course I took from Paul Shepard in college was one of the most thought-provoking courses I ever experienced. Find an image of the original cover of the book and you'll see what I mean—it's a strange synthesis of a post-modern bow hunter emerging from his paleo ancestor. Shepard contends that the key to understanding human happiness is recognizing that we are genetically hunters and gatherers living in a post-modern age. Reclaiming our hunting and gathering impulses will help us lead fuller lives. He does a fascinating job, in this book, of describing what hunting and gathering culture childhoods looked like and then suggesting how we should parent our children with these old genetic impulses in mind.
In what may be his boldest and most controversial book, Paul Shepard presents an account of human behavior and ecology in light of our past. In it, he contends that agriculture is responsible for our ecological decline and looks to the hunting and gathering lifestyle as a model more closely in tune with our essential nature. Shepard advocates affirming the profound and beautiful nature of the hunter and gatherer, redefining agriculture and combining technology with hunting and gathering to recover a livable environment and peaceful society.
I can’t say that I was even conscious of having grown up in the Ozarks until stumbling upon a regional geography book in college. Once I learned that the rural community of my childhood was part of a hill country stretching from the outskirts of St. Louis into the Cherokee Nation of Oklahoma, I dedicated my life’s work to explaining (and demystifying) the Ozarkers – a people not quite southern, not quite midwestern, and not quite western.
It may be pure fiction, but Harington’s saga of the remote community of Stay More (home, of course, to the Stay Morons) is still the best, most entertaining history of the Ozarks in existence. Beneath the postmodern devices and 1970s-era subversiveness, Harington’s abiding love for the Ozarks and its people shines through. From the backcountry dialect to the intricacies of a century and a half of regional history, it remains – for my money – the best thing ever written about the Ozarks.
Jacob and Noah Ingledew trudge 600 miles from their native Tennessee to found Stay More, a small town nestled in a narrow valley that winds among the Arkansas Ozarks and into the reader's imagination. The Ingledew saga-which follows six generations of 'Stay Morons' through 140 years of abundant living and prodigal loving-is the heart of Harington's jubilant, picaresque novel. Praised as one of the year's ten best novels by the American Library Association when first published, this tale continues to captivate readers with its winning fusion of lyricism and comedy.
I love cities and I teach about them. I was born in the capital of Sofia, Bulgaria, and landed in the US (mostly by chance) in 1993. Spent most of my professional life in US academia (Michigan, Virginia Tech, Harvard, Maryland, and now Georgia). I never stopped wondering how cities change and why American cities look and function so differently than European cities. So, I wrote a few books about cities, includingIron Curtains; Gates, Suburbs and Privatization of Space, which is about changes in East European Cities after the fall of the Berlin Wall.
A sweeping study and critique of modern culture! If you are looking for a comprehensive and passionate analysis of time and space in the “late capitalist era,” this is the one to read. Nobody has written more authoritatively on modern and post-modern “time-space compression” (you have to read the book to see what this means). Harvey’s intellectual breadth and depth are astonishing. No wonder he is one of the most cited scholars of our time.
In this new book, David Harvey seeks to determine what is meant by the term in its different contexts and to identify how accurate and useful it is as a description of contemporary experience.
I am a historian of twentieth century Germany and the Holocaust, but I am also a voracious consumer of popular culture. How do I justify spending so much time watching and analyzing horror and science fiction film and television? Well, write a book about it, of course. The first thing I realized is that many other brilliant scholars have thought about why this imagery permeates contemporary culture, even if I asked different questions about why. I hope you are as inspired and enlightened by this book list as I was.
The great film scholar Stephen Prince brings together over a dozen experts on the horror genre, contributing chapters on everything from the silent film era to postmodernism, the military horror film, and the Holocaust. The book is a must for anyone who wants to look beyond the screams and gore and understand why the genre speaks to us on more than just a visceral level.
Here, Stephen Prince has collected essays reviewing the history of the horror film and the psychological reasons for its persistent appeal, as well as discussions of the developmental responses of children and young adult viewers to the genre. The book focuses on recent post-modern examples such as ""The Blair Witch Project"". Controversially, the book also includes a discussion of Holocaust films in relation to horror. Part One features essays on the silent and classical Hollywood eras. Part Two focuses on the post World War II era and examines the historical, aesthetic and psychological characteristics of contemporary horror films. In contrast…
I read widely and in many genres, so coming up with a thematic list was a difficult task. However, in working on my forthcoming novel Dead Ends, in which a quiet neighborhood descends into paranoia and insanity driven by fear, politics, and technology, I sought out novels that engaged with conspiratorial thinking and violence. I admire writers who don’t hold back and fully engage with their characters and material, particularly if it means going to dark, imaginative and strange places in their work. Please keep an eye out for Dead Ends, coming from Flame Tree Press in 2023.
This trilogy collection is perhaps the granddaddy of conspiracy novels because, frankly, it encompasses nearly all of them — at least at the time it was written — then weaves in fictional mythos, occult religions, fascist political movements, and a post-modern deconstruction of itself. It’s equal parts fun, crazy, confusing, and challenging. The fact that Shea and Wilson had the capacity to create such a mammoth work encompassing so many far-reaching, interconnecting lines of conspiratorial thought makes it work to behold, not only for its brilliance but also for its influence. This is not The DaVinci Code; it’s bigger, deeper, more imaginative, and more complex.
Filled with sex and violence--in and out of time and space--the three books of The Illuminatus are only partly works of the imagination. They tackle all the coverups of our time--from who really shot the Kennedys to why there's a pyramid on a one-dollar bill.
I am a rabbi, educator, scholar and author who has led congregations, organizations and taught in rabbinical seminaries. As a result, I have always straddled the world of the practitioner and the academician. These books have informed my personal religious practice and outlook, as well as my academic approach to Judaism.
Eugene Borowitz was the leading liberal Jewish theologian of the 20th and early 21st century. Although this book may be challenging for those disinclined to read dense theology, it is presented in a more popular way and contains a theology that has informed the lives of many Jews, including myself.
The sixty books I’ve written wander in and out of existential thought, as that breakthrough thinking, where man was told to take personal responsibility for his life and stop looking up or elsewhere for purpose and meaning, has informed everything I do and write about. Over the years, I’ve been a family therapist, a creativity coach, an existential wellness coach, and an advocate for critical psychology and critical psychiatry, points of view that dispute the current pseudo-medical “mental disorder” paradigm.
Apart from the existential fiction that I love (Dostoevsky, Kafka, Camus, etc.), this is one of my favorite books of all time. The editor, Walter Truett Anderson, gathered together the best collection ever of essays on the topics of postmodernism, deconstruction (and reconstruction), the wobbly nature of truth in the twentieth century (and now, the twenty-first century), and how we might go about reconstructing the truth now that we have so beautifully and mercilessly deconstructed it.
Authors included are Umberto Eco, Michel Foucault, Jean Baudrillard, Richard Rorty, Bell Hooks, and a ton of other great thinkers on the subject of our postmodern malaise and the difficulties of belief … in anything. If you don’t know this book, you will really, really want to get to know it.
I teach medieval and early modern European history at Dublin City University, with a particular interest in 16th-18th century Italian history. My own research focuses on the religious, legal, and popular culture of northern Italy, particularly Venice and the Veneto region. I became fascinated with Renaissance Italian history as an undergraduate at the College of William and Mary, and then went on to do a masters and a PhD at Northwestern University. I have taught at Northwestern, the College of William and Mary, the University of Warwick/Warwick in Venice, and the State University of New York at Cortland.
This book is a fantastic, broad overview of the Italian Renaissance (or rinascimento, the term Ruggiero prefers and which his subjects would have recognized). The Italian Rinascimento was a period, according to Ruggiero, of vibrant cities, social change, and cultural expression, in which intellectuals, politicians, and artists both looked back to an idealized classical past and forward to uncharted territory.
I love the way this book focuses on issues that preoccupied the people he studies and incorporates topics often absent from works on the Renaissance, including women, sexuality, economics, disease and death, and religion, among others. Even more important, perhaps, is that it is clear, accessible, and engaging, and demonstrates a wealth of knowledge developed over an illustrious career as a historian of early modern Italy.
This book offers a rich and exciting new way of thinking about the Italian Renaissance as both a historical period and a historical movement. Guido Ruggiero's work is based on archival research and new insights of social and cultural history and literary criticism, with a special emphasis on everyday culture, gender, violence and sexuality. The book offers a vibrant and relevant critical study of a period too long burdened by anachronistic and outdated ways of thinking about the past. Familiar, yet alien; pre-modern, but suggestively post-modern; attractive and troubling, this book returns the Italian Renaissance to center stage in our…
