On the night of 12 November 1958, Walt Whitman witnessed a meteor shower which he later described in his notebook. The lines never found their way into a published piece. But when he came to write his poem about the year 1859-60, the year in which Abraham Lincoln and Stephen Douglas contested the presidency, John Brown was hanged in Virginia, and the mighty British iron steamship the Great Eastern arrived in New York on its maiden voyage, he remembered the heavenly (...) phenomenon of the year before and began his poem, “Year of meteors! brooding year!”1Brooding, indeed, because this poem, the first version of which was completed after the Civil War, is concerned with the year in which South Carolina seceded from the United States, thereby plunging the union of Whitman’s celebrations into bloody divisiveness. Yet the onset of that event is never mentioned in the poem. Rather, its imminence is expressed in the meteor imagery—the portent of human history written in the heavens, a fairly rare example of Whitman employing a traditional literary convention.Among the events of the “Year of meteors,” and seemingly the least of them, certainly the one that appears most unconnected with the “brooding,” “transient,” “strange” atmosphere invoked in the poem, is the visit Edward, Prince of Wales, paid to New York on 11 October 1860 . Whitman saw the prince’s procession, recorded it in his notebook, and introduced it, somewhat incongruously, into his poem, devoting three lines to it: And you would I sing, fair stripling! Welcome to you from me, young prince of England! [P. 239]1. Walt Whitman, “Year of Meteors ,” Leaves of Grass, ed. Sculley Bradley and Harold W. Blodgett , p. 238; all further references to Whitman’s poetry will be cited by page number from this edition and will included in the text. Larzer Ziff is Caroline Donovan Professor of English at the Johns Hopkins University. He has written several books on American culture, the most recent of which is Literary Democracy: The Declaration of Cultural Independence in America. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Painting Outside the Lines: Patterns of Creativity in Modern ArtMatthew ZiffPainting Outside the Lines: Patterns of Creativity in Modern Art, by David W. Galenson. Cambridge: Harvard University Press, 2001, 272 pp., $29.95.The relationship between the market value of paintings and the chronological point in an artist's working life when the paintings were produced is the driving mechanism for exploring creativity and innovation in David W. Galenson's book "Painting (...) Outside the Lines: Patterns of Creativity in Modern Art. The working thesis of this book is that Modern artists have worked creatively and innovatively in one of two distinctly different manners. The terminology Galenson uses to describe these distinct ways of working are "finders" and "seekers." Finders are artists like Pablo Picasso, who at age 26, make startling and important innovations with little advance indication that such a burst is about to take place. Seekers are artists like Paul Cezanne, whospend their entire working lives engaged in the pursuit of a singular approach or achievement. The differences between these methodologies are carefully presented through the details of the working lives of a variety of Modern artists. French nineteenth century and early twentieth-century artists and mid-twentieth-century American artists are used as the source data for these comparisons.Early in the book Galenson presents lists of chronological events within the lives of artists and market valuation of their work within this chronology. The dramatic clarity of the relationships presented in this data sets the stage for the detailed information that follows. Factors that in some cases only partly, and in others nearly completely, explain an artist's way of working are offered through biographic information, information about the aesthetic and cultural milieu, and about the economic and educational structures that are predominant during the relevant time in the life of the artist.The relationship between the aesthetic and cultural milieu surrounding an artist and the capacity or inclination of an artist to be innovative is an important aspect of the book's analysis. The scope of the book is limited to Modern artists because of the shift that took place at the outset of Modern art, during the mid 1860s, that brought a strong emphasis on innovation and change for their own sake as an important characteristic within a work of art. This emphasis "created incentives for painters to produce new approaches to art" (p. 111). Prior to the time of Modern art, innovation and change were often unnecessary for an artist to be successful. Modern art introduced the demand that innovation and change be necessary ingredients in art, and therefore the search for innovation became a significant element within the work of many artists. The manner in which this search took place, as presented through the data at hand, reveals how individual artists viewed the need for innovation and change within their own [End Page 123] work. Paul Cezanne, for example, was aware of the impact that his painting was having on the art world, but he insisted that he was not yet finished with discoveries that would reveal the truest expression of his beliefs about aesthetic expression.In the American movement, "Abstract Expressionism," Galenson finds a useful counter example to the art scene in Paris. In the United States, especially during the 1940s and 1950s — the peak years of creative output by Abstract Expressionist artists — the demand for their work was quite low. There were few economically viable outlets for the work of de Kooning, Pollack, Rothko, and the others of this group. Consequently there is a shift in the chronological point at which these artists achieve market value success. Nearly all of these artists receivedrecognition at an older age than the French artists of the late nineteenth and early twentieth centuries.The thesis of the book, that there are two fundamentally different ways of working to produce works of art, is directly applicable to, and useful in, exploring issues of teaching and learning in design education. As a teacher of interior architecture I was interested to follow the details that Galenson presented in support of his analysis of the careers of numerous Modern artists. The methodological differences between seeking and... (shrink)

‘Rigour’ is very much a linguistic analyst’s approval word, even, one sometimes gets the feeling, ‘rigour’ as in ‘bored stiff’; Dr Ziff can be very rigorous indeed.

‘Rigour’ is very much a linguistic analyst’s approval word, even, one sometimes gets the feeling, ‘rigour’ as in ‘bored stiff’; Dr Ziff can be very rigorous indeed.

Now in a third edition, Introduction to Philosophy: Classical and Contemporary Readings is a highly acclaimed, topically organized collection that covers five major areas of philosophy--theory of knowledge, philosophy of religion, philosophy of mind, freedom and determinism, and moral philosophy. Editor Louis P. Pojman enhances the text's topical organization by arranging the selections into a pro/con format to help students better understand opposing arguments. He also includes accessible introductions to each chapter, subsection, and individual reading, a unique feature for an (...) anthology of this depth. While the book focuses on a compelling sampling of classical material--including selections from Plato, Aristotle, Descartes, Locke, Berkeley, Hume, and Kant--it also incorporates some of philosophy's best twentieth-century and contemporary work, featuring articles by Bertrand Russell, Richard Taylor, John Searle, Thomas Nagel, and others. This third edition contains an expanded glossary, more extensive section introductions, and twelve new selections: Karl Popper: "Epistemology without a Knowing Subject" Richard Rorty: "Dismantling Truth: Solidarity Versus Objectivity" Daniel Dennett: "Postmodernism and Truth" Bruce Russell: "The Problem of Evil: Too Much Suffering" David Chalmers: "Against Materialism: Can Consciousness Be Reductively Explained?" Baron Paul Henri d'Holbach: "A Defense of Determinism" Michael Levin: "A Compatibilist Defense of Moral Responsibility" Plato: Socratic Morality: "Crito" Herodotus: "Custom Is King" J. L. Mackie: "The Subjectivity of Values" Louis P. Pojman: "A Critique of Mackie's Theory of Moral Subjectivism" Thomas Nagel: "Moral Luck". (shrink)

Includes a chapter on visual perception.

In ”Skepticism,” Peter Klein distinguishes between the “Academic Skeptic” who proposes that we cannot have knowledge of a certain set of propositions and the “Pyrrhonian Skeptic” who refrains from opining about whether we can have knowledge. Klein argues that Academic Skepticism is plausibly supported by a “Closure Principle‐style” argument based on the claim that if x entails y and S has justification for x, then S has justification for y. He turns to contextualism to see if it can contribute to (...) the discussion between one who claims that we can have knowledge about some epistemically interesting class of propositions and the Academic Skeptic. He outlines the background of Pyrrhonian Skepticism, pointing out that the Pyrrhonist withholds assent concerning our knowledge‐bearing status because reason cannot provide an adequate basis for assent. He assesses three possible patterns of reasoning, and concludes that the Pyrrhonist view, that reason cannot resolve matters concerning the nonevident, is vindicated. (shrink)

This volume is a collection of essays in appreciation, analysis and honor of Paul Ziff, one of the leading American philosophers of the post-World War II period. The essays address questions that loomed large in Ziff's own work. Essays by Zeno Vendler, Jay Rosenberg, and Tom Patton address topics in philosophy of language: understanding, misunderstanding, rules, regularities, and proper names. Michael Resnik examines the nature of numbers, Rita Nolan addresses `mutant predicates', and Peter Alexander discusses microscopes and corpuscles. (...) Douglas C. Long ruminates on Ziff's claim that machines can neither think nor feel. The essays of Dale Jamieson, Bill E. Lawson, Douglas Dempster, and Joseph Ullian address various questions in aesthetics: aesthetic appreciation and morality, expression, the scope of appreciation, and the aesthetics of sport. In the spirit of Ziff, Douglas Stalker criticizes some of the `mush' that looms large in our intellectual lives. The volume begins with a reminiscence by Paul Benacerraf, and ends with selections from an unpublished volume of plays by Paul Ziff. The volume should appeal to anyone whose work has been influenced by Ziff, or is interested in central philosophical problems concerning language, mind, and art. (shrink)

Epistemic Analysis, as I conceive of it, is concerned with the analysis of knowledge. The precincts of my concern have, however, been determined by the ...

First published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.