A series of autobiographical prose poems and interviews that explore Garfunkel's inner thoughts, musicial career, travels, and loves

"What makes something a work of art?" This was the question that philosopher Arthur C. Danto (1924-2013) asked himself after seeing Andy Warhol's "Brillo Box" at a 1964 exhibition at the Stable Gallery in New York City. The philosophy of art was not Danto's primary area of inquiry at the time, but Warhol's work prompted him to return to this question over several decades. Danto, professor of philosophy at Columbia University since the 1960s and art critic at The Nation from 1984 to 2009, delivered the previously unpublished lectures presented in this volume at the Acadia Summer Arts Program in Mount Desert Island, Maine, from 1997 through 2009. They explicate the ideas that he set forth in professional philosophical papers and books, including The Transfiguration of the Commonplace (1981), which describes his philosophy of art. Informal yet deeply thought-provoking, these lectures explore how Danto analyzed art through a philosophical lens, yielding an approach that differs from most other contemporary art criticism. Danto's thoughts on art go beyond formal analysis and taste judgments, instead focusing on questions about the nature of art and attempting to define what a work of art is. These lectures present some of his most notable ideas in terms that those with no training in philosophy can readily understand.

Now in its third edition, Narration and Knowledge is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events (for example, "the Thirty Years' War began in 1618") and discusses why such sentences cannot be understood until the later event happens (no one could have said in 1618 that "the Thirty Years' War began today"). Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and humanist discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of Narration and Knowledge and considers its enduring legacy.

In this acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. In light of the book's impact--especially the essay "The End of Art," which dramatically announced that art ended in the 1960s--this enhanced edition includes a foreword by Jonathan Gilmore that discusses how scholarship has changed in response to it. Complete with a new bibliography of work on and influenced by Danto's ideas,The Philosophical Disenfranchisement of Art continues to be of interest to anyone who thinks seriously about art, as well as to philosophers, aestheticians, and art historians.

An internationally recognized scholar and theologian shares a Jewish mysticism for our times.

A fully updated and revised edition of a classic text on Jewish prayer. The power of prayer for spiritual renewal and personal transformation is at the core of all religious traditions. Because Hasidic literature contains no systematic manual of contemplative prayer, the texts included in this volume have been culled from many sources. From the teachings of the Hasidic Masters--the Ba'al Shem Tov, the Maggid Dov Baer of Meidzyrzec, and their immediate disciples--the editors have gleaned "hints as to the various rungs of inner prayer and how they are attained." Hasidism, the Jewish revivalist movement that began in the late eighteenth century, saw prayer as being at the heart of religious experience and was particularly concerned with the nature of a person's relationship with God. The obstacles to prayer discussed by the Hasidic masters--distraction, loss of spirituality, and inconstancy of purpose--feel very close to concerns of our own age. Through advice, parables, and explanations, the Hasidic masters of the past speak to our own attempts to find meaning in prayer.

This is a landmark discussion of the effects of The Englightenment (specifically French, here) on the Jewish people as they emerged from non-citizenship to citizenship of modern nation states, even if only second class citizenship. x + 420 pp., 8 7/8" x 5.75".

PROMISE AND FULFILMENT Palestine TO ABRAM AND JASHA WEINSHALL CITIZENS OF ISRAEL AS A TOKEN OF A QUARTER-CENTURY OF FRIENDSHIP ACKNOWLEDGMENTS MY sincere thanks are due to R. H. S. Grossman, M. P., and Messrs. Hamish Hamilton, for permission to use the long extract pp. 102-7 from Grossmans Palestine Mission to a member of the Israeli Foreign Office, who wishes to remain anonymous, for per mission to print his Report from Jerusalem pp. 234-8 to Mr. George Pape, Librarian of the Public Information Office in Tel Aviv, and Dr. G. Pollack of the Israeli Ministry of Finance, for valuable research work and to Miss Daphne Wood ward, for helping with the proofs. A. K. PREFACE THIS book consists of three parts, Background, Close-up and Perspective . The first part is a survey of the develop ments which led to the foundation of the State of Israel. It lays no claim to historical completeness, and is written from a specific angle which stresses the part played by irrational forces and emotive bias in history. I am not sure whether this emphasis has not occasionally resulted in over-emphasis as is almost in evitable when one tries to redress a balance by spot-lighting aspects which are currently neglected. But it was certainly not my intention, by underlining the psychological factor, to deny or minimize the importance of the politico-economic forces. My aim was rather to present, if I may borrow a current medical term, a psycho-somatic view of one of the most curious episodes in modern history. The second part, Close-up, is meant to give the reader a close and coloured, but not I hope technicoloured, view of the Jewish war and of everyday life in the new State. It opens and ends with extracts fromthe diary of my last sojourn as a war correspondent in Israel. The emphasis here is on life in the towns, with only occasional glimpses of the collective settlements, since I have given a detailed description of these in an earlier book. The third part, Perspective, is an attempt to present to the reader a comprehensive survey of the social and political structure, the cultural trends and future prospects of the Jewish State. I have tried to show elsewhere that the creative processes of the artist and the scientist follow the same mental pattern, and that the sciences may legitimately be called neutral arts, separated from the emotive arts not by any distinct barrier but merely by the quality of our emotive reactions. In this sense vii Viii PROMISE AND FULFILMENT history, too, is a neutral art with mythology and bardic folklore as connecting links to the emotive arts of drama and fiction. But the emotive neutrality which should characterize the chronicler is not the same thing as indifference, and his object ivity can only be the result of a subjective passion for the pursuit of truth. It is a poor sort of impartiality which stands outside the parties, untouched by their emotions the good judge, like the playwright and historian, absorbs the subjective truth con tained in each of the conflicting pleas, and his verdict is a syn thesis of their part-truths, not their denial. In other words, r objectivity is a state of balanced emotions, not an emotive vacuum. This book, then, should be regarded as a subjective pursuit of the objective truth. I lived in Palestine from my twentieth to my twenty-third year, as a farmer, tramp, and on various odd jobs finally as a foreign correspondent. Ihave since revisited the country at fairly regular intervals, and each of these visits provided an occasion not only to study developments in the country, but also my personal attitude to it. The last phase of this pilgrims progress through a thicket of emotive and ideo logical entanglements is summed up in the Epilogue. It may also be read as a prologue, and serve as an indication of the point of view from which certain controversial problems are treated in this book...

The third volume of Arthur Koestler's autobiography covering the years 1940-1956.

Koestler advances the thesis that Ashkenazi Jews are not descended from the historical Israelites of antiquity, but from Khazars, a Turkic people originating in and populating an empire north of and between the Black Sea and Caspian Sea. Koestler's hypothesis is that the Khazars - who converted to Judaism in the 8th century - migrated westwards into current Eastern Europe (primarily Ukraine, Poland, Belarus, Lithuania, Hungary and Germany) in the 12th and 13th centuries when the Khazar Empire was collapsing. At the end of the book's last chapter, Koestler summarises its content and his intentions as follows: "In Part One of this book I have attempted to trace the history of the Khazar Empire based on the scant existing sources. In Part Two, Chapters V-VII, I have compiled the historical evidence which indicates that the bulk of Eastern Jewry - and hence of world Jewry - is of Khazar-Turkish, rather than Semitic, origin. In the last chapter I have tried to show that the evidence from anthropology concurs with history in refuting the popular belief in a Jewish race descended from the biblical tribe."

Cast in the style of a vaudeville Wild West Show, this highly theatrical play explores the theme of Americas mistreatment of the indigenious tribes was a celebrated hit on Broadway starring Stacy Keach. The hero is Buffalo Bill, whose life is defined and destroyed by an unfulfilled vision. Like all tragic heroes he has a fatal character flaw: he knows and loves the Native Americans, but craves money and fame. He helps destroy the buffalo herds, reducing the Native Americans to starvation. Ultimately, ambition leads him to even greater cruelty, destroying both the tribes and himself.

"Laurents passed away early in 2011, but not before writing The Rest of the Story, in which he revealed all that had happened in his life since Original Story By, filled with the wisdom he gained in growing older and a new perspective brought on by Laurents' experience of deep personal loss, including the death of his longtime companion, Tom Hatcher"--

s/t: A Historical Study of American Etiquette Books A Marandell Book Introduction First lessons Progress in the northern ports Republican etiquette The cult of elegance Relax! The balance sheet Acknowledgments Bibliography & Notes Index

The Colonial Merchants and the American Revolution

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The definitive memoir of Arthur Miller--the famous playwright of The Crucible , All My Sons , Death of a Salesman , A View from the Bridge , and other plays-- Timebends reveals Miller's incredible trajectory as a man and a writer. Born in 1915, Miller grew up in Harlem in the 1920s and 1930s, developed leftist political convictions during the Great Depression, achieved moral victory against McCarthyism in the 1950s, and became president of PEN International near the end of his life, fighting for writers' freedom of expression. Along the way, his prolific output established him as one of the greatest writers of the twentieth century--he wrote twenty-two plays, various screenplays, short stories, and essays, and won the Pulitzer Prize in 1949 for Death of a Salesman and the New York Drama Critics Circle Award in 1947 for All My Sons . Miller also wrote the screenplay for The Misfits, Marilyn Monroe's final film. This memoir also reveals the incredible host of notables that populated his life, including Marilyn Monroe, Elia Kazan, Clark Gable, Sir Laurence Olivier, John F. Kennedy, and Mikhail Gorbachev. Leaving behind a formidable reputation in the worlds of theater, cinema, and politics, Arthur Miller died in 2005 but his memoir continues his legacy.

The doomed hero of The Tragedy of Arthur is Arthur Phillips, a young man struggling with a larger than life father, a con artist who works wonders of deception but is a very unreliable parent. Arthur is raised in an enchanted world of smoke and mirrors where the only certain fact is his father's and beloved sister's shared love for the works of William Shakespeare, a love so pervasive that Arthur becomes a writer in a misguided bid to win their approval. Near the end of his life, Arthur's father shares with him a treasure that he has kept for half a century: a previously unknown play by Shakespeare, titled The Tragedy of Arthur. Arthur and his sister also inherit their father's mission, to see the play published and acknowledged as the Bard's last great gift to humanity. Unless, of course, it's their father's last and greatest deception.