The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting (...) to delve into the way Crane approaches painting in general and Siqueiros’ œuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—”Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature. (shrink)

Examines how Stieglitz's work influenced Gertrude Stein, William Carlos Williams, Hart Crane and Sherwood Anderson and discusses how photography reshaped literary aesthetics.

AbstractMany management theories have descriptive and normative elements, and no management theory used to generate prescriptions can be totally devoid of normative assumptions. Yet, there remain few useful models for assessing the relative strength or utility of the normative frameworks that inform most management theorizing. In this essay, we offer a model from a field of art rather than science. We introduce the poetry of early twentieth century American writer Hart Crane as providing such a model. Crane uses a (...) panorama of consequences to examine modern social phenomena and subject them to normative evaluation. We argue that management theorists can use a similar panorama of consequences method to “test” normative theories by assessing the directional consistency of the normative evaluations the theories generate about an empirical phenomenon or relationship, as well as how extensively the theories’ normative evaluations cover the full scope of a phenomenon’s or relationship’s impact. We explicate an exemplar poem of Crane’s, and then demonstrate how his method might be used to study shareholder activism, a normatively ambiguous management practice, in a way that illuminates the strengths and weaknesses of the relevant normative frameworks. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Robert Leo CRITICISM OF CONSCIOUSNESS IN SHELLEY'S A DEFENCE OF POETRY IN his "Ode to Liberty" Shelley locates by encircling and enfolding metaphors a mythic Hellenic moment, one in which verse was yet "speechless" and philosophy still burdened with "lidless eyes." Greece— always for Shelley either the displaced Garden of prethematic unity or the mythic dream of integrated civic and aesthetic life—is about to inaugurate Athens and the (...) "wrinkled image" of historical consciousness.1 Poetry, thinking, and the tilling of an earth "to human use" are implicitly related and foreseen as destiny: from their enchanted caves Prophetic echoes flung dim melody. On the unapprehensive wild The vine, the corn, the olive mild, Grew savage yet, to human use unreconciled; And, like unfolded flowers beneath the sea, Like the man's dark thought in the infant's brain, Like aught that is which wraps what is to be, Art's deathless dreams lay veiled by many a vein Of Parian stone; and, yet a speechless child, Verse murmured, and Philosophy did strain Her lidless eyes for thee... (11. 49-60). Shelley could be describing the reading or speaking of a text, for poetic experience is an originating moment which unfolds our reflections and anticipations. Poetry elides speechlessness and the empty gaze. Its goings are all returnings, its experience is always inventive before meanings codify and resolve: "Every original language near to its source," we find in the Defence (p. 279), "is in itself the chaos of a cyclic poem; the copiousness of lexicography and the distinctions of grammar are the works of a later age and are merely the catalogue and the form of the creations of poetry." What was dark to experience is now illumined, 46 John Robert Leo47 as different regions in experience are uncovered or redistributed by language across our shifting horizons. Thus this bringing-foward-intoclarity, this moving of the previously inexpressed into articulation, is the pattern not only behind Shelley's view ofGreece producing a "sun-fire garlanded" Athens (1. 68), but also the more pervasive design describing other regarded experience. James Edie puts it this way: "We... can learn to make distinctions in our experience by attending to differences of meaning which are normally below the level of our own cultural threshold. By attending to a given region of experience, we can lower the differential thresholds already sedimented in our language almost indefinitely and make what was implicit in our experience more and more explicit."2 Edie's comments may be taken as responses to questions emerging from modernist readings of Shelley and other visionary poets—Blake, Hart Crane, or Charles Olson are instances—who sense the poetic project as a criticism of consciousness, within the lived body, as it struggles to make a world. How do language and the imagination consort in the critical regeneration of our lives? In what sorts of ways is renascence the uncovering and unfolding of an indefinite wholeness by the unlayering of fixed habits and attitudes? How does Shelley's Defence of Poetry, both a text on aesthetics and a reading of the world, suggest their alignment? What methods from critical discourse make Shelley's poetics present to our experience and thought? The adjustment of these issues is the task of the remainder of my article. First I examine Shelley's organization of consciousness into "reason" and "imagination" and trace the meanings of these functions in their immediate social context. A brief dispute with the reductive idealism of Platonic tradition allows for my third procedure, which is a phenomenological description of the imaginative field according to Husserl. Finally, I try to explicate Shelley's understanding of imaginative "decentering" within our experience. I Poetry and prose are saturated with references to phenomena. Texts refer to interior and exterior events (memory, rain), which are objects ofandfor consciousness. Shelley grasps this co-givenness of consciousness and world, their correlativity, as a condition revealed and strengthened by metaphor, which itself arrests us as "that of which we are speaking through words."3 But if it is the nature of language to be both perceptual and yet transcendental, both present and absent, it still exists as the imagination's voice in... (shrink)

Religious thought often assumes that the principle of physical causal completeness (PCC) is false. But those who explicitly deny or doubt PCC, including William Alston, W. D. Hart, Tim Crane, Paul Moser and David Yandell, Charles Taliaferro, Keith Yandell, Dallas Willard, William Vallicella, Frank Dilley, and, recently, David Chalmers, have ignored not only the explicit but also the implicit grounds for acceptance of PCC. I review the explicit grounds, and extend the hitherto implicit grounds, which together constitute a greater (...) challenge to contemporary religious philosophy than has been realized. Religious philosophers need to find a better way around PCC than has been found, or, if PCC is unavoidable, religious philosophers need to work toward a worldview that both accepts PCC and defends strong forms of religious experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 368-370 [Access article in PDF] Book Review Skeptical Music: Essays on Modern Poetry Skeptical Music: Essays on Modern Poetry, by David Bromwich; xvii & 256 pp. Chicago: University of Chicago Press, 2001; $49.00 cloth, $16.00 paper. In his preface to this gathering of his essays and reviews on twentieth-century American and British poetry, David Bromwich regrets that it is "too late to suppress the (...) evidence of a critic educating himself in public" (p. xi). But even the earliest work reprinted in Skeptical Music--"The Making of the Auden Canon," published in the Times Literary Supplement in 1976, when the author was still a graduate student at Yale--hardly qualifies as juvenilia. Indeed, in Bromwich's case, evidence of a critic educating himself in public seems to have been suppressed from the start. No single explanation will account for an author's precocity, but the consistency of Bromwich's critical voice over the last quarter century is certainly related to his early preoccupation with William Hazlitt, the subject of his first book. In choosing Hazlitt as his model, Bromwich rejected what he took to be the legacy of systematic and professional literary theory extending from Coleridge to each new school of academic criticism. Bromwich's own development as a critic has therefore been subtler and more introspective than the critical retooling of so many of his colleagues. Although never far from the evaluative art of the reviewer, Bromwich has come to favor the more speculative dimension of his work. The more recent the piece, the more overt the attempt to imagine "what was in the poet's mind, or what was in the poem's mind, on the theory that certain thoughts and feelings are worth the trouble to characterize because of their strangeness and originality" (p. xi).Some of the most compelling chapters in Skeptical Music imagine what was in the poet's mind, or the poem's mind, by telling stories about complex relationships between poems by different poets--between the work of Marianne Moore and Elizabeth Bishop, or T. S. Eliot and Hart Crane. These are stories about literary influence, or deep temperamental affinity. As in Harold Bloom's work, the stories are grounded in close readings, usually of the passages the critic prizes for their aesthetic superiority.A related procedure is at work in "Stevens and the Idea of the Hero"--a long speculative piece on Wallace Stevens's transfer of allegiance, at a crucial moment in his career, from the pragmatism of Nietzsche to the pragmatism of William James. What Stevens found "most persistently attractive" in Nietzsche's pragmatism, Bromwich coolly explains, was "the suggestion that the good of existence is change" and that "our most vivid acknowledgment of that good comes from the ability to imagine a life wiped clear of ourselves" (p. 71). But the Nietzschean sublime proved insufficient for Stevens. During the Second World War, the poet was confronted by "the reality of American soldiers going off to fight... for a cause which, as Stevens saw it, they could only make true by their fighting" (p. 68). Stevens turned to James for "the less brutal idea of a [End Page 368] man or woman who is made great by an enterprise in which others have a part" (p. 78).Bromwich's argument that Stevens became a more valuable poet when he located heroism in human solidarity, not just Nietzschean contingency and self-creation, bears a family resemblance to the work of one of James's heirs, Richard Rorty. Like Rorty, Bromwich often feels the pressure to adjudicate between the claims of the individual artist and the claims of the community; and like Rorty, he makes his judgements on a case by case basis, without recourse to a set standard, rule, or theory. In the closing chapter of Skeptical Music--"Is Taste Moral?"--Bromwich directly addresses the tension between aestheticism and the social good, a subject that also surfaces at the close of his preface and at numerous moments throughout the book. But the claims of the community seem relatively muted... (shrink)

Capturing the lively modernist milieu of Kenneth Burke's early career in Greenwich Village, where Burke arrived in 1915 fresh from high school in Pittsburgh, this book discovers him as an intellectual apprentice conversing with "the moderns." Burke found himself in the midst of an avant-garde peopled by Malcolm Cowley, Marianne Moore, Jean Toomer, Katherine Anne Porter, William Carlos Williams, Allen Tate, Hart Crane, Alfred Stieglitz, and a host of other fascinating figures. Burke himself, who died in 1993 at the (...) age of 96, has been hailed as America's most brilliant and suggestive critic and the most significant theorist of rhetoric since Cicero. Many schools of thought have claimed him as their own, but Burke has defied classification and indeed has often been considered a solitary, eccentric genius immune to intellectual fashions. But Burke's formative work of the 1920s, when he first defined himself and his work in the context of the modernist conversation, has gone relatively unexamined. Here we see Burke living and working with the crowd of poets, painters, and dramatists affiliated with Others magazine, Stieglitz's "291" gallery, and Eugene O'Neill's Provincetown Players; the leftists associated with the magazines The Masses and Seven Arts; the Dadaists; and the modernist writers working on literary journals like The Dial, where Burke in his capacity as an associate editor saw T. S. Eliot's "The Wasteland" into print for the first time and provided other editorial services for Thomas Mann, e.e. cummings, Ezra Pound, and many other writers of note. Burke also met the iconoclasts of the older generation represented by Theodore Dreiser and H. L. Mencken, the New Humanists, and the literary nationalists who founded Contact and The New Republic. Jack Selzer shows how Burke's own early poems, fiction, and essays emerged from and contributed to the modernist conversation in Greenwich Village. He draws on a wonderfully rich array of letters between Burke and his modernist friends and on the memoirs of his associates to create a vibrant portrait of the young Burke's transformation from aesthete to social critic. (shrink)

Investigates the continuing impact of the Brooklyn Bridge upon the American imagination, exploring both its symbolic significance as reflected in the works of Hart Crane and others and its importance as an engineering accomplishment 'This ...

This book represents the most comprehensive attempt to date to explore and test Derrida's contribution and influence on the study of theology, biblical studies, and the philosophy of religion. Over the course of the last decade, the writings of Derrida and the key concepts that emerge from his work such as the gift, apocalypse, hospitality, and messianism have wrought far-reaching and irresistible changes in the way that scholars approach biblical texts, comparative religious studies, and religious violence, for instance, as well (...) as the way they understand basic religious themes as myth, creation, forgiveness, one-ness, and multiplicity. In addition to original contributions from over twenty highly-regarded scholars including John Caputo, Daniel Boyarin, Edith Wyschogrod, Tim Beal, and Gil Anidjar, the volume opens with a lengthy interview with Derrida. (shrink)

Starting from the question of the identities—in a given text—of author and reader, subsumed under the broader question of “self” and “other” in exteriority, this essay attempts a theological response in three critical moments: the first follows the transcendental tradition of Western thought from the turn towards transcendental subjectivity to the collapse of the dialectics of subjectivity in “postmodern” thought; the second moves the problem of exteriority from the realm of recognition that of promise and expectation ; and the third (...) formulates a Trinitarian ontology of distance that accommodates this eschatology. (shrink)

The last kilometers of the Berlin Wall were finally torn down during this last week before Christmas, but mentally, socially, economically it continues to exist, and for some in what used to be East Berlin it isn’t so clear anymore whether the actual wall made of concrete wasn’t easier to bear. To be sure, the wall that once separated the largest cities in each of the two Germanys is still present as a scar of empty space; but distances have shrunk, (...) and old views of the city have been reestablished—at least geographically, Berlin, no doubt, is slowly becoming one again. However, the social and economic differences as well as the mental walls erected in forty years of separate existence still divide the eastern from the western part. Now that the euphoria of unification has finally subsided, gains and losses are being counted, and many East Germans are beginning to ask themselves whether the price they paid for political freedom was not too high after all. The moral and economic bankruptcy of the old regime daily becomes more apparent: its structures of corruption and repression, its system of total surveillance that had become a part of everyday life and made use of even those whom the state had marginalized. And yet that system, corrupt as it was, had also provided a measure of stability, a predictable life that, although it had restricted individual choice, can now evoke nostalgic memories of warmth and security. Heinz Ickstadt is professor of American literature at the John F. Kennedy Institute for North American Studies at the Free University in Berlin. He has written and edited books on Hart Crane, Thomas Pynchon, and the 1930s, and has published widely on American literature and culture in the late nineteenth century, American modernism, postmodern fiction, and on the relation of literature and painting. A book on the changing functions of the American novel, coauthored with Winfried Fluck, is forthcoming. (shrink)

This article describes a team-taught environmental studies course called Animal Metaphors. Focusing on animal metaphors in literature and film, the course emphasizes various cognitive and perceptual biases that lead humans to place ourselves above and beyond nature, making us more likely to engage in practices destructive to the environment. Whereas the first iteration of the course underscored various ways in which humans are less rational or moral than we imagine, the new iteration shifted more of the focus to what inspires (...) and motivates humans, gives us emotional resilience, and best creates conditions for mental well-being as we cooperate and collaborate. This seemed an appropriate tack to take in an age commonly referred to as the “Anthropocene.” We thus continued to examine our status as evolved animals while also calling more attention to spiritual or ecstatic experience, music, humor, and the uniquely human ability for shared intentionality. (shrink)

This book focuses on how we perceive, know and interpret culture across disciplinary boundaries. The study ranges from the Bible and classical works to those by and about men and women in Europe, the Americas and beyond of Native, African, European and different backgrounds.

D'après beaucoup de commentateurs de nos jours la théorie de Leibniz que dans toute vérité, le prédicat est continu dans le sujet, se base sur le Principe de l'Identité et méne vers Pessentialisme ou le supère-essentialisme. Ils prétendent que pour Dieu toutes les vérités peuvent ètre réduites à des identìtés explicites, tous les sujets à leurs attributs constitutifs, toutes les substances à des perceptions et des appétions. Cette reduction élimine “Celui Qui Contient” les concepts, le substratum persistant. Leibniz lui-mème vacille, (...) disant parfois que mème Dieu ne peut pas mener à bonne fin la reduction mais dois se fier à une “Vision” de la substance elle-mème, et à scs perceptions et appétitions. L'article present vise à examiner les idées rivalisantes offenes par Leibniz sur la connaissance possedée par Dieu des propositions contingentes et des substances créés. Il note aussi les consequences de les vues pour le pourvoir de contenir des concepts et pour Pessentialisme ainsi que pour l'individuation des monades et pour les sujets de jugements ethiques. (shrink)

Say "cheese"! Taking great pictures is a snap when you follow the tips, tricks, and techniques packed inside Photography For Dummies, which takes you all the way from choosing the right film to using your computer to turn your photos into greeting cards or Web-ready online images. Whether you're taking photos for fun or profit, you'll find expert advice on all the angles -- from taking family pictures to action, sports, and travel shots -- alongside hundreds of color and black-and-white (...) examples that show you how to make your good pictures great, and your great pictures even better. Geared for novice photographers armed with automated point-and-shoot cameras, Photography For Dummies takes you step-by-step through the entire photographic process, from choosing the right film and photo processing to using your camera's special features. And when you're ready to take the next step in photography with digital cameras, you'll find all sorts of helpful information right here, all explained in clear, easy-to-understand language. (shrink)

The project of studying children in order to understand them, which lies at the heart of contemporary thinking about children and their education, is misconceived. It rests, jrst of all, upon a false belief that we can only come to know something properly by deliberately and systematically pursuing knowledge of it. Secondly, it offers a paradigm of knowing children which justifies parents and teachers in not giving themselves to children. By re-interpreting the problems that adults experience with children as technical, (...) as arising from lack of information about them, it ignores the personal and moral dimension of adults’ relations with children and thus further alienates them from one another. (shrink)

This collection of essays aims to mark a place for American philosophy as it moves into the twenty-first century. Taking their cue from the work of Peirce, James, Santayana, Dewey, Mead, Buchler, and others, the contributors assess and employ philosophy as an activity taking place within experience and culture. Within the broad background of the American tradition, the essays reveal a variety of approaches to the transition in which American philosophy is currently engaged. Some of the pieces argue from an (...) historical dialogue with the tradition, some are more polemically involved with American philosophy’s current status among the contemporary philosophical "schools," and still others seek to reveal the possibilities for the future of American philosophy. In thus addressing past, present, and future, the pieces, taken together, outline a trajectory for American philosophy that reinvents its importance from a new angle of vision. (shrink)

The Power of Belonging unpacks the universal longing to belong and the shame that keeps leaders from leading with authenticity, confidence, and hope.

We commend Redish et al. for the progress they have made in bringing a measure of theoretical order to the processes that underlie drug addiction. However, incorporating information about situations in which drug users do not exhibit faulty decision-making into the theory would greatly enhance its generality and practical value. This commentary draws attention to the relevant human substance abuse literature.