"In the 1990s when I was watching reruns of The Fugitive on the Arts and Entertainment Network twice a day, I couldn't take my eyes off it. . . . No one in The Fugitive ever relaxes as you watch and you can't relax either, even though for long stretches absolutely nothing happens. It was the combination of nonstop tension with the (relative) absence of slam-bang action that attracted me, and as I now reflect on it, the same combination characterizes the literary works I have been reading and writing about for more than forty-five years."—Stanley Fish, from the Introduction In the stark television drama The Fugitive , Dr. Richard Kimble, an innocent man convicted of murder, is on the run from the police and in pursuit of the real killer. The award-winning show, which aired on ABC from 1963 to 1967 and inspired a 1993 blockbuster movie, still has many devoted fans, none more passionate than literary and legal theorist and intellectual provocateur Stanley Fish. In The Fugitive in Flight , Fish examines the moral structure of the long-running series and explains why he thinks this may well be the greatest show ever aired on American network television. Analyzing key episodes, The Fugitive in Flight goes beyond plot summaries and behind-the-scenes stories. For Fish, the real action of The Fugitive takes place in confined spaces where the men and women Richard Kimble encounters are forced to choose what kind of person they will be for the rest of their lives. Kimble is the catalyst of such choices and changes, but he himself never changes. Breaking free from the political and social problems of his time, he is always the bearer and exemplar of the very middle-class values informing the system that has misjudged him. Kimble is the perfect representative of a mid-twentieth-century liberalism that values above all independence, personal integrity, and the refusal to surrender oneself to obsessions or causes. He is so consistently faithful to his liberal vision of life that he displays both its virtues and its dark side, the side that flees attachments, entanglements, responsibilities, and human connections. Stanley Fish's Richard Kimble is the ultimate man in a gray flannel suit, even when he is wearing a windbreaker and walking down a dark, lonely road.

Freedom from Violence and Lies is a collection of forty-one essays by Simon Karlinsky (1924-2009), a prolific and controversial scholar of modern Russian literature, sexual politics, and music who taught in the University of California, Berkeley's Department of Slavic Languages and Literatures from 1964 to 1991. Among Karlinsky's full-length works are major studies of Marina Tsvetaeva and Nikolai Gogol, Russian Drama from Its Beginnings to the Age of Pushkin; editions of Anton Chekhov's letters; writings by Russian émigrés; and correspondence between Vladimir Nabokov and Edmund Wilson. Karlinsky also wrote frequently for professional journals and mainstream publications like the New York Times Book Review and the Nation. The present volume is the first collection of such shorter writings, spanning more than three decades. It includes twenty-seven essays on literary topics and fourteen on music, seven of which have been newly translated from the Russian originals.

This book is a biography of one of the most famous and influential living mathematicians, Peter Lax. He is virtually unique as a preeminent leader in both pure and applied mathematics, fields which are often seen as competing and incompatible. Although he has been an academic for all of his adult life, his biography is not without drama and tragedy. Lax and his family barely escaped to the U.S. from Budapest before the Holocaust descended. He was one of the youngest scientists to work on the Manhattan Project. He played a leading role in coping with the infamous "kidnapping" of the NYU mathematics department's computer, in 1970. The list of topics in which Lax made fundamental and long-lasting contributions is remarkable: scattering theory, solitons, shock waves, and even classical analysis, to name a few. His work has been honored many times, including the Abel Prize in 2005. The book concludes with an account of his most important mathematical contributions, made accessible without heavy prerequisites. Reuben Hersh has written extensively on mathematics. His book with Philip Davis, The Mathematical Experience, won the National Book Award in science. Hersh is emeritus professor of mathematics at the University of New Mexico.

In this pathbreaking study of responses to the Holocaust in wartime and postwar Polish literature, Rachel Feldhay Brenner explores seven writers' compulsive need to share their traumatic experience of witness with the world. The Holocaust put the ideological convictions of Kornel Filipowicz, Józef Mackiewicz, Tadeusz Borowski, Zofia Kossak, Leopold Buczkowski, Jerzy Andrzejewski, and Stefan Otwinowski to the ultimate test. Tragically, witnessing the horror of the Holocaust implied complicity with the perpetrator and produced an existential crisis that these writers, who were all exempted from the genocide thanks to their non-Jewish identities, struggled to resolve in literary form. Polish Literature and the Holocaust: Eyewitness Testimonies,1942-1947 is a particularly timely book in view of the continuing debates about the attitudes of Poles toward the Jews during the war. The literary voices from the past that Brenner examines posit questions that are as pertinent now as they were then. And so, while this book speaks to readers who are interested in literary responses to the Holocaust, it also illuminates the universal issue of the responsibility of witnesses toward the victims of any atrocity--Provided by publisher.

This study draws on the theory and practice of archaeology to develop a new perspective on the literature of the Renaissance. Philip Schwyzer explores the fascination with images of excavation, exhumation, and ruin that runs through literary texts including Spenser's Faerie Queene, Shakespeare's Romeo and Juliet and Hamlet, Donne's sermons and lyrics, and Thomas Browne's Hydriotaphia, or Urne-Buriall. Miraculously preserved corpses, ruinedmonasteries, Egyptian mummies, and Yorick's skull all figure in this study of the early modern archaeological imagination. The pessimism of the period is summed up in the haunting motif of the beautiful corpse that, once touched, crumbles to dust.Archaeology and literary studies are themselves products of the Renaissance. Although the two disciplines have sometimes viewed one another as rivals, they share a unique and unsettling intimacy with the traces of past life - with the words the dead wrote, sang, or heard, with the objects they made, held, or lived within. Schwyzer argues that at the root of both forms of scholarship lies the forbidden desire to awaken (and speak with) the dead. However impossible or absurd this desire may be,it remains a fundamental source of both ethical responsibility and aesthetic pleasure.

The decorative dust jacket adds much to this vintage first edition, first printing hardcover. The jacket shows wear along the edges from shelving. Book is like new inside, bright and clean. NEVER a library book, NOT price clipped, Not a worthless book-of-the-month-club edition. LISTEDBY(KAD)

Book by Mazursky, Professor Paul

Philosophical work comes in different sizes: there are systemic treatises, monographic surveys, philosopher-expanding texts. But there is also room for smaller studies that focus on highly particularized ideas and issues: studies that deal not with entire continents but with mere reefs and estuaries. The present essays are of this limited nature. Their aim is less to give a view of the overall lay of the land than to give a tranistic view of the diversity of the landscape. The present book continues Rescher's longstanding practice of publishing groups of philosophical essays that originated in occasional lecture and conference presentations. Notwithstanding their topical diversity the essays exhibit a uniformity of method in a common attempt to view historically significant philosophical issues in the light of modern perspectives opened up thorough conceptual clarification.

On Certainty continues Rescher s longstanding practice of publishing occasional studies that form part of a wider program of investigation of the scope and limits of rational inquiry in the pursuit of understanding. And pragmatism forms a subtextual Leitmotiv of these essays, seeing that the linking idea at work throughout is that knowledge is a tool for the management of our theoretical and practical affairs, and that what we ask of it is serviceability for the uses we have in view."

While philosophers from Plato to Kant and beyond have discussed the mission and methodology of philosophy, this area of deliberation has only recently been acknowledged as a distinctive branch of philosophy as such, duly entitled metaphilosophy. There are, as yet, very few books on the subject so that the present volume joins a rather select group. Professor Rescher has published in the field for some thirty years and this book gathers together a representative sampling of his contributions. Taken together these pieces convey an instructive overview of the field, as well as vividly conveying their author's take on the key issues that constitute its problem domain.

The present book continues Rescher's longstanding practice of publishing occasional studies written for formal presentation and informal discussion with colleagues. They form part of a wider program of investigation of the scope and limits of rational inquiry in the pursuit of knowledge.

A native of Crimea, the Soviet Jewish poet Ilya Selvinskii (1899-1968), in 1942-43, bore witness to Nazi atrocities in and near the city of Kerch (in eastern Crimea) and in the south of Russia. This included the massacre at the "Bagerovo ditch", an anti-tank ditch west of the city, where the Nazis murdered ca. 7,000 Jews of Kerch in November 1941. What he saw impressed Selvinskii for the rest of his life. He was the first Soviet poet to publish extensively on the Holocaust, most notably his two poems "I Saw It" (1942) and "Kerch" (1945). In general, he somewhat downplayed the fact that the victims were Jews, as did Ehrenburg and other contemporary poets who wrote on the Nazi mass murders. Selvinskii's shock of viewing the Bagerovo ditch was also reflected in his postwar poems, in particular in "Kandava", the first version of which was published in 1946. Selvinskii influenced many other poets who wrote on the Nazi genocide, among them Iosif Utkin and Lev Ozerov. After the war Selvinskii was accused of "cosmopolitanism" and holding an "anti-party line"; he was partially blacklisted. Pp. 263-277 contain the Russian originals and English translations of "I Saw It" and "Kerch".

This volume collects the notable published book reviews of Martha C. Nussbaum, an acclaimed philosopher who is also a professor of law and a public intellectual. Her academic work focuses on questions of moral and political philosophy and on the nature of the emotions. But over the past 25 years she has also written many book reviews for a general public, in periodicals such as The New Republic and The New York Review of Books. Dating from 1986 to the present, these essays engage, constructively and also critically, with authors like Roger Scruton, Allan Bloom, Charles Taylor, Judith Butler, Richard Posner, Catharine MacKinnon, Susan Moller Okin, and other prominent intellectuals of our time. Throughout, her views defy ideological predictability, heralding valuable work from little-known sources, deftly criticizing where criticism is due, and generally providing a compelling picture of how philosophy in the Socratic tradition can engage with broad social concerns. For this volume, Nussbaum provides an intriguing introduction that explains her selection and provides her view of the role of the public philosopher.

The biblical prohibition of images sets Judaism apart, together with Islam, from all other religious systems. This book attempts to explain the reasons for the prohibition - as well as its limits - and then shows how influential it has been in determining aspects of Jewish thinking in relation to such key concepts as holiness, symbolism, mediation between man and God, aesthetics and the role of memory in religion. Why is music the one art to which Judaism is hospitable? Is Judaism a religion of the ear rather than the eye? What is the real issue at stake in the age-old debate between Jerusalem and Athens? How do these issues relate to the iconoclastic movements in Byzantine Christianity and the Reformation? Lionel Kochan makes clear that to the prohibition of the graven image there is more than meets the eye.