In The Colorful Conservative, R.O.P. Lopez culls important insights into American culture from the works of Phillis Wheatley, Edgar Allan Poe, Henry David Thoreau, William Wells Brown, and Walt Whitman. Lopez contends that many of the tensions that emerged prior to the Civil War remain unresolved; thus, the nineteenth century never ended and Americans still live in the literary framework of the 1800s. Beyond political distinctions of the left and the right, there are really four poles: The Left, The Conformist (...) Burkeans, The Anarchist-Nihilist-Libertarians, and The Colorful Conservatives. The Left and the Colorful Conservatives are the two poles most at odds with each other. The Colorful Conservatives, Lopez argues, encompass these five American authors and are the driving force behind many unique paradoxes in the United States' political culture"--Back cover. (shrink)

The philosophy of Edmund Husserl, by O. Becker.--The phenomenological philosophy of Edmund Husserl and contemporary criticism, by E. Fink.--The decisive phases in the development of Husserl's philosophy, by W. Biemel.--Husserl's concept of the "absolute," by R. Boehm.--Critical observations concerning Husserl's posthumous writings, by H. Wagner.--Husserl's departure from Cartesianism, by L. Landgrebe.

Książka ma charakter interdyscyplinarny i przedstawia spór „wokół piękna” w sztuce ubiegłego wieku. Jest syntezą różnorodnych zjawisk artystycznych i postaw estetycznych kompozytorów, syntezą uwzględniającą kontekst ideowy i społeczny tworzonej w XX wieku muzyki. Zaproponowana konstrukcja historiograficzna opiera się na założeniu, że ową różnorodność zjawisk artystycznych i postaw estetycznych można interpretować w relacji do idei piękna, w XX wieku „skazanej na wygnanie” i zdominowanej przez rozmaite ideologie. Za początek owej historycznej konstrukcji autorka przyjmuje narastający u schyłku XIX wieku kult Wagnera i (...) szeroką akceptację jego wizji sztuki. Przedstawia m.in. spory na temat modelu kultury muzycznej w latach międzywojennych, inspirowane przez koncepcję muzyki narodowej, współczesnej i postępowej. Uwzględnia także zagadnienia związane z życiem muzycznym naznaczonym w okresie powojennym cieniem „żelaznej kurtyny”, dzielącym świat sztuki na „zniewolony” oraz „wyzwolony”. (shrink)

Contemporary liberal democracy employs a conception of legitimacy according to which political decisions and institutions must be at least in principle justifiable to all citizens. This conception of legitimacy is difficult to satisfy when citizens are deeply divided at the level of fundamental moral, religious, and philosophical commitments. Many have followed the later Rawls in holding that where a reasonable pluralism of such commitments persists, political justification must eschew appeal to any controversial moral, religious, or philosophical premises. In this way, (...) the Rawlsian account of public political justification involves a politics of omission, where citizens are expected to bracket off their most fundamental commitments and seek justifications that draw only from uncontroversial premises. This politics of omission is necessary, Rawls argues, for political stability. But there is good social epistemic evidence for the view that the politics of omission encourages insularity among like-minded groups, and that this insularity in turn generates extremism. So omission is likely to lead to instability, not stability. (shrink)

With the current resurgence of interest in phenomenology, a second edition of Elveton’s indispensable collection is timely. These essays present appraisals of Edmund Husserl’s phenomenological philosophy, ranging from its earliest reception to the first comprehensive efforts to assess the full scope of Husserl’s writings.

Translation of the Holy Bible from Syriac.

In 50 B.C. Cicero writes to Atticus as follows : ‘Brundisium uenimus VII Kalend. Decembr. usi tua felicitate nauigandi; ita belle nobis flauit ab Epiro lenissimus Onchesmites. hunc si cui boles pro tuo uendito.’ The antonomasia, the euphonic sibilance, and the mannered rhythm are all prominent in Cicero's hexameter. The line is a humorously concocted example of affected and Grecizing narrative. But it is also a line which, Atticus is to suppose, would value; presumably therefore it is meant to hit (...) off characteristics of their style. Cicero must in fact be parodying what he regards as a typical ‘neoteric’ line, and the significance of this simple fact has perhaps been underestimated. (shrink)