The feminist campaign against pornography, the furor over a racial epithet in the O. J. Simpson trial, and Iran's continuing threat to kill Salman Rushdie exemplify the intense passions aroused by hur
The feminist campaign against pornography, the furor over a racial epithet in the O. J. Simpson trial, and Iran's continuing threat to kill Salman Rushdie exemplify the intense passions aroused by hur
The Art of Public Speaking by Dale Carnegie. This is a US only edition. The efficiency of a book is like that of a man, in one important respect: its attitude toward its subject is the first source of
“If I only had known what could happen, I would have made a different choice!”After a decade in a crisis pregnancy center, as well as counseling both Christian and non-Christian teens and speaking to
A great training tool for classroom or for personal use! In recent years, Barron’s American Accent Training has gained wide respect as a self-teaching program, but more and more speech trainers, teach
In this book, Susan Mandala offers a series of in-depth investigations into how the dialogue of four modern plays 'works' with respect to the pragmatic and discoursal norms postulated for ordinary con
An Annotated Anthology of Hymns treats the hymn as a literary form deserving of respect. 250 hymns from the English-speaking world are printed, covering the range from the earliest years of the Christ
This Element considers Kant's account of the sublime in the context of his predecessors both in the Anglophone and German rationalist traditions. Since Kant says with evident endorsement that 'we call sublime that which is absolutely great' (Critique of the Power of Judgment, 5:248) and nothing in nature can in fact be absolutely great (it can only figure as such, in certain presentations), Kant concludes that strictly speaking what is sublime can only be the human calling (Bestimmung) to perfect our rational capacity according to the standard of virtue that is thought through the moral law. The Element takes account of the difference between respect and admiration as the two main varieties of sublime feeling, and concludes by considering the role of Stoicism in Kant's account of the sublime, particularly through the channel of Seneca.
Kant, Art, and Art History is the first systematic study of Kant's reception of and influence on the visual arts and art history. Arguing against Kant's transcendental approach to aesthetic judgement, Cheetham examines five 'moments' of his influence, including the use of Kant's political writings among German-speaking artists and critics in Rome around 1800; the canonized patterns of Kant's reception in late nineteenth- and early twentieth-century art history, particularly in the work of Wölfflin and Panofsky; and the Kantian language in the criticism of Cubism. He also reassesses Clement Greenberg's famous reliance on Kant. The final chapter focuses on Kant's 'image', both in contemporary and posthumous portraits, with respect to his status as the image of philosophy within a disciplinary hierarchy. In Cheetham's reading, Kant emerges as a figure who has constantly erected and crossed the borders among art, its history, and philosophy.
