But although he lived in the German golden age of Goethe, Schiller and Mozart, he also believed that art was in terminal decline.To resolve this apparent paradox, as Michael Inwood explains in his incisive Introduction, we must understand the particular place of aesthetics in Hegel's vast intellectual edifice. Its central pillars consist of logic, philosophy of nature and philosophy of spirit. Art derives its value from offering a sensory vision of the God-like absolute, from its harmonious fusion of form and content, and from summing up the world-view of an age such as Homer's. While it scaled supreme heights in ancient Greece, Hegel doubted art's ability to encompass Christian belief or the reflective irony characteristic of modern societies. Many such challenging ideas are developed in this superb treatise; it counts among the most stimulating works of a master thinker.Table of ContentsIntroductory Lectures on Aesthetics Introduction A Note on the Translation and CommentaryINTRODUCTORY LECTURES ON AESTHETICSChapter I: The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted[α Aesthetic confined to Beauty of Artβ Does Art merit Scientific Treatment?γ Is Scientific Treatment appropriate to Art?δ Answer to βε Answer to γ]Chapter II: Methods of Science Applicable to Beauty and Art[1. Empirical Method - Art-scholarship(a) Its Range(b) It generates Rules and Theories(c) The Rights of Genius2. Abstract Reflection3. The Philosophical Conception of Artistic Beauty, general notion of]Chapter III: The Conception of Artistic BeautyPart I - The Work of Art as Made and as Sensuous1. Work of Art as Product of Human Activity[(a) Conscious Production by Rule(b) Artistic Inspiration(c) Dignity of Production by Man(d) Man's Need to produce Works of Art]2. Work of Art as addressed to Man's Sense[(a) Object of Art - Pleasant Feeling?(b) Feeling of Beauty - Taste(c) Art-scholarship(d) Profounder Consequences of Sensuous Nature of Art(α) Relations of the Sensuous to the Mind(αα) Desire(ββ) Theory(γγ) Sensuous as Symbol of Spiritual(β) The Sensuous Element, how Present in the Artist(γ) The Content of Art Sensuous]Part II - The End of Art3. [The Interest or End of Art(a) Imitation of Nature?(α) Mere Repetition of Nature is -(αα) Superfluous(ββ) Imperfect(γγ) Amusing Merely as Sleight of Hand(β) What is Good to Imitate?(γ) Some Arts cannot be called Imitative(b) Humani nihil - ?(c) Mitigation of the Passions?(α) How Art mitigates the Passions(β) How Art purifies the Passions(αα) It must have a Worthy Content(ββ) But ought not to be Didactic(γγ) Nor explicitly addressed to a Moral Purpose(d) Art has its own Purpose as Revelation of Truth]Chapter IV: Historical Deducation of the True Idea of Art in Modern Philosophy1. Kant[(a) Pleasure in Beauty not Appetitive(b) Pleasure in Beauty Universal(c) The Beautiful in its Teleological Aspect(d) Delight in the Beautiful necessary though felt]2. Schiller, Winckelmann, Schelling3. The IronyChapter V: Division of the Subject[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form2. Part I - The Ideal3. Part II - The Types of Art(α) Symbolic Art(β) Classical Art(γ) Romantic Art4. Part III - The Several Arts(α) Architecture(β) Sculpture(γ) Romantic Art, comprising(i) Painting(ii) Music(iii) Poetry5. Conclusion]Commentary

    Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.

    In March 2003, Patrick Cockburn secretly crossed the Tigris river from Syria into Iraq just before the US/British invasion, and has covered the war ever since. In The Occupation, he provides a vivid and disturbing picture of a country in turmoil, and the dangers and privations endured by its people.The Occupation explores the mosaic of communities in Iraq, The US and Britain’s failure to understand they country they were invading and how this led to fatal mistakes. Cockburn, who has been visiting Iraq since 1978, describes the disintegration of the country under the occupation. Travelling throughout Iraq, from the Kurdish north, to Baghdad, Falluja and Basra, he records the response of the country’s population – Shia and Sunni, Arab and Kurd – to the invasion, the growth of the resistance and its transformation into a full-scale uprising. He explains why deepening religious and ethnic divisions drove the country towards civil war.Above all, Cockburn traces how the occupation’s failure led to the collapse of the country, and the high price paid by the Iraqis. He charts the impact of savage sectarian killings, rampant corruption and economic chaos on everyday life: from the near destruction of Baghdad’s al-Mutanabi book market to the failure to supply electricity, water and, ironically, fuel to Iraq’s population. The Occupation is a compelling portrait of a ravaged country, and the appalling consequences of imperial arrogance.

    It premiered 37 years ago, in 1973, and, after 31 series it finally came to an end last year – even though all its original protagonists – Compo, Foggy, even Nora Batty – are now dead. Remarkably, for a series of such longevity and international appeal, it is all about elderly people, has little action or plot, and is set and filmed in and around the small Yorkshire town of Holmfirth. Now, Andrew Vine, the deputy editor of Yorkshire’s daily newspaper, has written the definitive history of this television phenomenon. It covers the show’s inauspicious beginnings, with low ratings, its endless reinvention as participants like Bill Owen, Michael Bates, Brian Wilde and Kathy Staff retired or died, the appearance of a string of guest stars from John Cleese and Norman Wisdom to Thora Hird and Russ Abbott (both of whom soon found themselves fixtures in the cast), and the ingenious plot contrivances as the protagonists became too old and frail to attempt any of the slapstick stunts with runaway prams – indeed any outdoor action. Holmfirth is now a year-round tourist attraction, and endless repeats and new DVD box sets will ensure a readership for this book for years to come.

    Filled with facts, theories and tips on how we can do our bit for the planet, this is your one-stop guide to making every aspect of your life earth-friendly.

    Best known as one of the world's greatest painters, he sketched the foundations for inventions that would not come to fruition for centuries. Born a bastard in a hillside village in northern Italy, Leonardo became the protégé of princes, popes, and kings. He mastered so many branches of science that scholars still debate whether he was greater as an anatomist, botanist, cartographer, engineer, geographer, or naturalist. Nevertheless, he died unhappy, believing he had failed to work the miracles of which he had dreamed. Here, from New York Times bestselling author Anna Abraham, is his extraordinary story.

    He insists that such a move could bring new luster to a tired field, one that in some respects is among “the most backwards disciplines in the academy.” Literary study, he argues, has been random and unsystematic. For any given period scholars focus on a select group of a mere few hundred texts: the canon. As a result, they have allowed a narrow distorting slice of history to pass for the total picture.Moretti offers bar charts, maps, and time lines instead, developing the idea of “distant reading,” set forth in his path-breaking essay “Conjectures on World Literature,” into a full-blown experiment in literary historiography, where the canon disappears into the larger literary system. Charting entire genres—the epistolary, the gothic, and the historical novel—as well as the literary output of countries such as Japan, Italy, Spain, and Nigeria, he shows how literary history looks significantly different from what is commonly supposed and how the concept of aesthetic form can be radically redefined.

    Among the people discussed: Italo Svevo, Stefan Zweig, Simone de Beauvoir, Marguerite Yourcenar, Joseph Roth, Vaslav Nijinsky, Lincoln Kirstein, Jerome Robbins, Martha Graham, Bob Fosse, H. L. Mencken, Dorothy Parker, Susan Sontag, and Philip Roth. What unites the book is Acocella's interest in the making of art and in the courage, perseverance, and, sometimes, dumb luck that it requires. Here is Acocella on Primo Levi, a chemist who, after the Nazis failed to kill him, wrote Survival in Auschwitz, the noblest of the camp memoirs, and followed it with twelve more books . . . Hilary Mantel, the aspiring young lawyer stuck on a couch with a chronic and debilitating illness, who asked herself, "What can one do on a couch?" (well, one could write) and went on to become one of England's premier novelists . . . M. F. K. Fisher, who, numb with grief over her husband's suicide, dictated to her sister the witty and classic How to Cook a Wolf . . . Marguerite Yourcenar, the victim of a ten-year writer's block, who found in an old trunk a draft of a forgotten novel and finished the book: Memoirs of Hadrian . . . George Balanchine, who, after losing his family at age nine, survived the Russian Revolution, escaped from the Soviet Union at twenty, was for five years house choreographer for Diaghilev's Ballets Russes, came to the United States with the promise that he could set up a ballet company, and had to wait another fifteen years before being able to establish his extraordinary New York City Ballet . . . And Acocella on Mary Magdalene and Joan of Arc reminds us that saints in the service of their visions-like artists in the creation of their art-draw power from the very blows of fortune that might be expected to defeat them.

    Marcuse argues that art is the only form or expression that can take up where religion and philosophy fail and contends that aesthetics offers the last refuge for two-dimensional criticism in a one-dimensional society.

    Gombrich, in an introductory essay, calls ‘certain invariant traits of the human psyche.’”—Denis Thomas, Journal of the Royal Society of Arts“This book gathers together various legends and attitudes about artists, ancient and modern, East and West, and gives fascinating insights into attitudes toward artistic creation.  It impinges on psychology, art history and history, aesthetics, biography, myth and magic, and will be of great interest to a wide audience in many fields…. A delightful and unrivalled study.”—Howard Hibbard“Thought provoking and valuable…. To all those interested in psychiatry and art from the perspectives of history, criticism, or therapy and to the wide audience concerned with the psychology of aesthetics and of artistic creation.”—Albert Rothenberg, American Journal of PsychiatryErnst Kris was a psychoanalyst who wrote on a wide variety of subjects, including art.  Otto Kurz was librarian of the Warburg Institute in London.

    While observing his paintings we see a panorama of his life story-a story that is now considered a legend. Van Gogh is the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the unconventional artist.

    Balancing both the traditions of art history and the new trends of the present. Art History is the most comprehensive, accessible, and magnificently illustrated work of its kind.

    It may be considered the best work extant on the philosophy of history. On the 18th Brumaire (Nov. 9th), the post-revolutionary development of affairs in France enabled the first Napoleon to take a step that led with inevitable certainty to the imperial throne. The circumstance that fifty and odd years later similar events aided his nephew, Louis Bonaparte, to take a similar step with a similar result, gives the name to this work-"The Eighteenth Brumaire of Louis Bonaparte.

    Weaving together their extraordinary personal narratives, Oscar Lewis creates a sympathetic but ultimately tragic portrait that is at once harrowing and humane, mystifying and moving.An invaluable document, full of verve and pathos, The Children of Sánchez reads like the best of fiction, with the added impact that it is all, undeniably, true.

    Governments have sought to control, censor, or bend art to their own purposes; artists have resisted and subverted such efforts. But what happens when artists work on behalf of a political program? When does art become propaganda? Is art tainted, diminished, or elevated by its political content?Toby Clark argues that propaganda art appears in many guises, and that the desire to persuade is not always at odds with aesthetic aims. He examines these many forms: the state propaganda of Nazi Germany, Fascist Italy, and Stalin's Soviet Union; democratic governments' representation of enemies in wartime; and anti-government protest art around the world, uncovering the complex rhetoric, high beauty, and ambiguous role of art that dwells in the political realm.