Recommendations based on "Kant's Ethical Thought"

This book focuses on works of art, their creators, and the circumstances affecting their creation. This revision is designed to provide readers with a more streamlined approach to understanding Italian Renaissance art without losing the enthusiasm and appreciation that Hartt demonstrated for this area and which earlier editions of this book conveyed so successfully. Italy and Italian Art; Duecento Art in Tuscany and Rome; Florentine Art of the Early Trecento; Sienese Art of the Early Trecento; Later Gothic Art in Tuscany and Northern Italy; The Beginnings of Renaissance Architecture; Gothic and Renaissance in Tuscan Sculpture; Gothic and Renaissance in Florentine Painting; The Heritage of Masaccio and the Second Renaissance Style; The Second Renaissance Style in Architecture and Sculpture; Absolute and Perfect Painting: The Second Renaissance Style; Crisis and Crosscurrents; Science, Poetry, and Prose; The Renaissance in Central Italy; Gothic and Renaissance in Venice and Northern Italy; The High Renaissance in Florence; The High Renaissance in Rome; High Renaissance and Mannerism; High and Late Renaissance in Venice and on the Mainland; Michelangelo and the Maniera.

Philosophers and theologians have long engaged in intense debate and introspection over the representation of the deity, its possibilities and its proscriptions. The Forbidden Image traces the dual strains of “iconophilia” and iconoclasm, the privileging and prohibition of religious images, over a span of two and a half millennia in the West.Alain Besançon’s work begins with a comprehensive examination of the status of the image in Greek, Judaic, Islamic, and Christian thought. The author then addresses arguments regarding the moral authority of the image in European Christianity from the medieval through the early modern periods. Besançon completes The Forbidden Image with an examination of how iconophilia and iconoclasm have been debated in the modern period.“Even the reader who has heard something of the Byzantine quarrels about images and their theological background will be surprised by a learned and convincing interpretation of the works of Mondrian, Kandinsky, and Malevich in terms of religiously inspired iconoclasm. . . . This is an immensely rich and powerful masterpiece.”—Leszek Kolakowski, Times Literary Supplement

When After Virtue first appeared in 1981, it was recognized as a significant and potentially controversial critique of contemporary moral philosophy. Newsweek called it “a stunning new study of ethics by one of the foremost moral philosophers in the English-speaking world.” Since that time, the book has been translated into more than fifteen foreign languages and has sold over one hundred thousand copies. Now, twenty-five years later, the University of Notre Dame Press is pleased to release the third edition of After Virtue, which includes a new prologue “After Virtue after a Quarter of a Century.”In this classic work, Alasdair MacIntyre examines the historical and conceptual roots of the idea of virtue, diagnoses the reasons for its absence in personal and public life, and offers a tentative proposal for its recovery. While the individual chapters are wide-ranging, once pieced together they comprise a penetrating and focused argument about the price of modernity. In the Third Edition prologue, MacIntyre revisits the central theses of the book and concludes that although he has learned a great deal and has supplemented and refined his theses and arguments in other works, he has “as yet found no reason for abandoning the major contentions” of this book. While he recognizes that his conception of human beings as virtuous or vicious needed not only a metaphysical but also a biological grounding, ultimately he remains “committed to the thesis that it is only from the standpoint of a very different tradition, one whose beliefs and presuppositions were articulated in their classical form by Aristotle, that we can understand both the genesis and the predicament of moral modernity.”

An inspired gathering of religious writings that reveals the "divine reality" common to all faiths, collected by Aldous Huxley"The Perennial Philosophy, " Aldous Huxley writes, "may be found among the traditional lore of peoples in every region of the world, and in its fully developed forms it has a place in every one of the higher religions."With great wit and stunning intellect—drawing on a diverse array of faiths, including Zen Buddhism, Hinduism, Taoism, Christian mysticism, and Islam—Huxley examines the spiritual beliefs of various religious traditions and explains how they are united by a common human yearning to experience the divine. The Perennial Philosophy includes selections from Meister Eckhart, Rumi, and Lao Tzu, as well as the Bhagavad Gita, Tibetan Book of the Dead, Diamond Sutra, and Upanishads, among many others.

Universe of the MindA Semiotic Theory of CultureYuri M. LotmanIntroduction by Umberto EcoTranslated by Ann ShukmanA major book by one of the initiators of cultural studies."Universe of the Mind is an ambitious, complex, and wide-ranging book that semioticians, textual critics, and those interested in cultural studies will find stimulating and immensely suggestive." ―Journal of Communication"Soviet semiotics offers a distinctive, richly productive approach to literary and cultural studies and Universe of the Mind represents a summation of the intellectual career of the man who has done most to guarantee this." ―Slavic and East European JournalUniverse of the Mind addresses three main areas: meaning and text, culture, and history. The result is a full-scale attempt to demonstrate the workings of the semiotic space or intellectual world. Part One is concerned with the ways that texts generate meaning. Part Two addresses Lotman's central idea of the semiosphere―the domain in which all semiotic systems can function―presented through an analogy with the global biosphere. Part Three focuses on semiotics from the point of view of history.A seminal text in cultural semiotics, the book's ambitious scope also makes it applicable to disciplines outside semiotics. The book will be of great interest to those concerned with cultural studies, anthropology, Slavic studies, critical theory, philosophy, and historiography.Yuri Mikhailovich Lotman is the founder of the Moscow-Tartu School and the initiator of the discipline of cultural semiotics.

Vasari's Lives of the Painters, Sculptors, and Architects are and always have been central texts for the study of the Italian Renaissance. They can and should be read in many ways. Since their publication in the mid-sixteenth century, they have been a source of both information and pleasure. Their immediacy after more than four hundred years is a measure of Vasari's success. He wished the artists of his day, himself included, to be famous. He made the association of artistry and genius, of renaissance and the arts so familiar that they now seem inevitable. In this book Patricia Rubin argues that both the inevitability and the immediacy should be questioned. To read Vasari without historical perspective results in a limited and distorted view of The Lives.Rubin shows that Vasari had distinct ideas about the nature of his task as a biographer, about the importance of interpretation, judgment, and example - about the historian's art. Vasari's principles and practices as a writer are examined here, as are their sources in Vasari's experiences as an artist.

Madness, sexuality, power, knowledge—are these facts of life or simply parts of speech? In a series of works of astonishing brilliance, historian Michel Foucault excavated the hidden assumptions that govern the way we live and the way we think. The Archaeology of Knowledge begins at the level of "things aid" and moves quickly to illuminate the connections between knowledge, language, and action in a style at once profound and personal. A summing up of Foucault's own methadological assumptions, this book is also a first step toward a genealogy of the way we live now. Challenging, at times infuriating, it is an absolutey indispensable guide to one of the most innovative thinkers of our time.

Containing accounts of the author's field work among Sioux and Yurok Indians, and an examination of the American, German and Russian characters, this is an interpretation of human life on psychological lines. Using case histories as springboards for theoretical discussion of the formative years of childhood, Professor Erikson identifies human life as a delicate balance between bodily, mental and social influences. The main chapters are devoted to anxiety in young children, apathy in American Indians, confusion in veterans of war, and arrogance in young Nazis.

Hard to Imagine is the first work to chronicle in detail the evolution of gay male erotic image culture, from the canonical works of "art" cinema and photography to the private and often highly explicit productions of amateurs. In this visual history of homoerotic image-making in its first century, Thomas Waugh brings together nearly four hundred photographs and film stills, from archives and personal collections in Europe and North America. Waugh identifies four primary aspects of homoerotic photography and film - the artistic, the commercial, the illicit, and the politico-scientific - tracing their development against a background of advances in visual technology. This comprehensive work explores a vast, eclectic tradition in its totality, analyzing the visual imagery in addition to its production, circulation, and consumption. A pathbreaking examination of the interplay between gay film and photography, gay life, and the larger social and political world, Hard to Imagine is a model for social and cultural historians. Interweaving an analysis of these images in their gay cultural context with the broader social and legal implications, Thomas Waugh offers a pioneering chapter in both gay and visual history.

'I can understand myself only in the light of inner happenings. It is these that make up the singularity of my life, and with these my autobiography deals' Carl Jung An eye-opening biography of one of the most influential psychiatrists of the modern age, drawing from his lectures, conversations, and own writings. In the spring of 1957, when he was eighty-one years old, Carl Gustav Jung undertook the telling of his life story. Memories, Dreams, Reflections is that book, composed of conversations with his colleague and friend Aniela Jaffé, as well as chapters written in his own hand, and other materials. Jung continued to work on the final stages of the manuscript until shortly before his death on June 6, 1961, making this a uniquely comprehensive reflection on a remarkable life.