"It can be exhilarating, appealing, inspiring, chilling. It is never viewed with indifference: beauty demands to be noticed; it speaks to us directly like the voice of an intimate friend." In a book that is itself beautifully written, renowned philosopher Roger Scruton explores this timeless concept, asking what makes an object--either in art, in nature, or the human form--beautiful. This compact volume is filled with insight and Scruton has something interesting and original to say on almost every page. Can there be dangerous beauties, corrupting beauties, and immoral beauties? Perhaps so. The prose of Flaubert, the imagery of Baudelaire, the harmonies of Wagner, Scruton points out, have all been accused of immorality, by those who believe that they paint wickedness in alluring colors. Is it right to say there is more beauty in a classical temple than a concrete office block, more beauty in a Rembrandt than in an Andy Warhol Campbell Soup Can? Can we even say, of certain works of art, that they are too beautiful: that they ravish when they should disturb. But while we may argue about what is or is not beautiful, Scruton insists that beauty is a real and universal value, one anchored in our rational nature, and that the sense of beauty has an indispensable part to play in shaping the human world. Forthright and thought-provoking, and as accessible as it is stimulating, this fascinating meditation on beauty draws conclusions that some may find controversial, but, as Scruton shows, help us to find greater meaning in the beautiful objects that fill our lives.

    This new, revised and extended edition of this seminal work will not only inspire architects and students to design more holistic architecture, but will enrich the general reader's perception of the world around them. The Eyes of the Skin has become a classic of architectural theory and consists of two extended essays. The first surveys the historical development of the ocular-centric paradigm in western culture since the Greeks, and its impact on the experience of the world and the nature of architecture. The second examines the role of the other senses in authentic architectural experiences, and points the way towards a multi-sensory architecture which facilitates a sense of belonging and integration.

    He sent his journals, a novel-in-progess, and copies of all his poems to his mentor, Columbia professor Mark Van Doren, for safe keeping, fully expecting to write little, if anything, ever again.? It was a relatively short-lived resolution, for Merton almost immediately found himself being assigned writing tasks by his Abbot?one of which was the autobiographical essay that blossomed into his international best-seller The Seven Storey Mountain. That book made him famous overnight, and for a time he struggled with the notion that the vocation of the monk and the vocation of the writer were incompatible. Monasticism called for complete surrender to the absolute, whereas writing demanded a tactical withdrawal from experience in order to record it.? He eventually came to accept his dual vocation as two sides of the same spiritual coin and used it as a source of creative tension the rest of his life.? Merton's thoughts on writing have never been compiled into a single volume until now. Robert Inchausti has mined the vast Merton literature to discover what he had to say on a whole spectrum of literary topics, including writing as a spiritual calling, the role of the Christian writer in a secular society, the joys and mysteries of poetry, and evaluations of his own literary work. Also included are fascinating glimpses of his take on a range of other writers, including Henry David Thoreau, Flannery O'Connor, Dylan Thomas, Albert Camus, James Joyce, and even Henry Miller, along with many others.

    These beliefs are an essential part of a shared identity. They have a unique power to define - and to divide - us, and are a driving force in the politics of much of the world today. Throughout history they have most often been, in the widest sense, religious.Yet this book is not a history of religion, nor an argument in favour of faith. It is about the stories which give shape to our lives, and the different ways in which societies imagine their place in the world. Looking across history and around the globe, it interrogates objects, places and human activities to try to understand what shared beliefs can mean in the public life of a community or a nation, how they shape the relationship between the individual and the state, and how they help give us our sense of who we are.For in deciding how we live with our gods, we also decide how to live with each other.

    As G. K. Chesterton explains, "Only with original sin can we at once pity the beggar and distrust the king."Do we arrive in this world predisposed to evil? St. Augustine passionately argued that we do; his opponents thought the notion was an insult to a good God. Ever since Augustine, the church has taught the doctrine of original sin, which is the idea that we are not born innocent, but as babes we are corrupt, guilty, and worthy of condemnation. Thus started a debate that has raged for centuries and done much to shape Western civilization.Perhaps no Christian doctrine is more controversial; perhaps none is more consequential. Blaise Pascal claimed that "but for this mystery, the most incomprehensible of all, we remain incomprehensible to ourselves." Chesterton affirmed it as the only provable Christian doctrine. Modern scholars assail the idea as baleful and pernicious. But whether or not we believe in original sin, the idea has shaped our most fundamental institutions—our political structures, how we teach and raise our young, and, perhaps most pervasively of all, how we understand ourselves. In Original Sin, Alan Jacobs takes readers on a sweeping tour of the idea of original sin, its origins, its history, and its proponents and opponents. And he leaves us better prepared to answer one of the most important questions of all: Are we really, all of us, bad to the bone?

    But what came before the Greeks? What if we could prove that all myths have one common origin in a celestial cosmology? What if the gods, the places they lived & what they did are but ciphers for celestial activity, a language for the perpetuation of complex astronomical data? Drawing on scientific data, historical & literary sources, the authors argue that our myths are the remains of a preliterate astronomy, an exacting science whose power & accuracy were suppressed & then forgotten by an emergent Greco-Roman world view. This fascinating book throws into doubt the self-congratulatory assumptions of Western science about the unfolding development & transmission of knowledge. This is a truly seminal & original thesis, a book that should be read by anyone interested in science, myth & the interactions between the two.

    Only now are we coming to a fuller appreciation of the nature and role of myth in human history. In these five lectures originally prepared for Canadian radio, Claude Lévi-Strauss offers, in brief summations, the insights of a lifetime spent interpreting myths and trying to discover their significance for human understanding. The lectures begin with a discussion of the historical split between mythology and science and the evidence that mythic levels of understanding are being reintegrated in our approach to knowledge. In an extension of this theme, Professor Lévi-Strauss analyzes what we have called “primitive thinking” and discusses some universal features of human mythology. The final two lectures outline the functional relationship between mythology and history and the structural relationship between mythology and music.

    Jacques Rancière reveals its intrinsic link to politics by analysing what they both have in common: the delimitation of the visible and the invisible, the audible and the inaudible, the thinkable and the unthinkable, the possible and the impossible. Presented as a set of inter-linked interviews, The Politics of Aesthetics provides the most comprehensive introduction to Rancière's work to date, ranging across the history of art and politics from the Greek polis to the aesthetic revolution of the modern age. Already translated into five languages, this English edition of The Politics of Aesthetics includes a new afterword by Slavoj Zizek, an interview for the English edition, a glossary of technical terms and an extensive bibliography.

    From its publication amid the social upheavals of the 1960s up to the present, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism and everyday life in the late twentieth century. Now finally available in a superb English translation approved by the author, Debord's text remains as crucial as ever for understanding the contemporary effects of power, which are increasingly inseparable from the new virtual worlds of our rapidly changing image/information culture.

    Perched on the top of the world. changes in Tibet’s ecosystem affect the entire global climate. And, most importantly, Tibet is the spiritual and physical home of His Holiness the Dalai Lama, to which he can never return.But why does Tibet matter to you? Tibet is more than its mountains, its monks, and its martyrs. Robert Thurman, renowned Tibetan scholar, teacher, and activist, presents his provocative, five-point plan that will enable China to win the respect of the entire world by allowing Tibet to regain its cultural, economic, and political autonomy. Thurman shows how the Dalai Lama's tireless work is the harbinger of peace for the world yet to come and essential for human survival. The book outlines several key factors that will educate and empower readers to take action:- What is the history of Tibet, and how do the political, religious, ecological, and social factors affect each other?- Who is the Dalai Lama, and why does his work matter to the world?- What does the China-Tibet relationship represent for the global community?- What can individuals do to bring attention to this issue, and make a change where they are?- How can the five-point plan be used as a model of peaceful change in the world?

    Conceived as a handbook and teaching aid for artists, instructors, and students, this timeless book presents Albers’s unique ideas of color experimentation in a way that is valuable to specialists as well as to a larger audience.Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten representative color studies chosen by Albers. The paperback has remained in print ever since and is one of the most influential resources on color for countless readers.This new paperback edition presents a significantly expanded selection of more than thirty color studies alongside Albers’s original unabridged text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusions of transparency and reversed grounds. Now available in a larger format and with enhanced production values, this expanded edition celebrates the unique authority of Albers’s contribution to color theory and brings the artist’s iconic study to an eager new generation of readers.

    The Mind of the Maker will be relished by those already in love with Dorothy L. Sayers and those who have not yet met her. A mystery writer, a witty and perceptive theologian, culture critic, and playwright, Dorothy Sayers sheds new, unexpected light on a specific set of statements made in the Christian creeds. She examines anew such ideas as the image of God, the Trinity, free will, and evil, and in these pages a wholly revitalized understanding of them emerges. The author finds the key in the parallels between the creation of God and the human creative process. She continually refers to each in a way that illuminates both.

    More manifesto than polite discussion, more call to action than criticism, The Invisible Dragon aims squarely at the hyper-institutionalism that, in Hickey’s view, denies the real pleasures that draw us to art in the first place. Deploying the artworks of Warhol, Raphael, Caravaggio, and Mapplethorpe and the writings of Ruskin, Shakespeare, Deleuze, and Foucault, Hickey takes on museum culture, arid academicism, sclerotic politics, and more—all in the service of making readers rethink the nature of art. A new introduction provides a context for earlier essays—what Hickey calls his "intellectual temper tantrums." A new essay, "American Beauty," concludes the volume with a historical argument that is a rousing paean to the inherently democratic nature of attention to beauty.Written with a verve that is all too rare in serious criticism, this expanded and refurbished edition of The Invisible Dragon will be sure to captivate a new generation of readers, provoking the passionate reactions that are the hallmark of great criticism.

    Because this collection makes clear the ways in which the philosophy of art relates to and is part of general philosophical positions, it will be an essential sourcebook to students of philosophy, art history, and literary criticism.

    Present here is a remarkable combination of the insight of the poet and the contemplation of the philosopher.In The Sickness unto Death, Kierkegaard moves beyond anxiety on the mental-emotional level to the spiritual level, where — in contact with the eternal — anxiety becomes despair. Both anxiety and despair reflect the misrelation that arises in the self when the elements of the synthesis — the infinite and the finite — do not come into proper relation to each other. Despair is a deeper expression for anxiety and is a mark of the eternal, which is intended to penetrate temporal existence.