What is art? The arts establishment has a simple answer: anything is art if a reputed artist or expert says it is. Though many people are skeptical about the alleged new art forms that have proliferated since the early twentieth century, today's critics claim that all such work, however incomprehensible, is art. A groundbreaking alternative to this view is provided by philosopher-novelist Ayn Rand (1905-1982). Best known as the author of The Fountainhead and Atlas Shrugged, Rand also created an original (...) and illuminating theory of art, which confirms the widespread view that much of today's purported art is really not art at all. In What Art Is, Torres and Kamhi present a lucid introduction to Rand's esthetic theory, contrasting her ideas with those of other thinkers. They conclude that, in its basic principles, her account is compelling, and is corroborated by evidence from anthropology, neurology, cognitive science, and psychology. The authors apply Rand's theory to a debunking of the work of prominent modernists and postmodernists--from Mondrian, Jackson Pollock, and Samuel Beckett to John Cage, Merce Cunningham, and other highly regarded avant-garde figures. Finally, they explore the implications of Rand's ideas for the issues of government and corporate support of the arts, art law, and arts education. Table of Contents / Chapter Summaries / Introduction (excerpts) / Endorsements / Reviews & Responses: Choice (Association of College and Research Libraries, 2001); The Art Book (U.K. Association of Art Historians, 2001); and more. Jacques Barzun (1907-2012), Cultural Historian - Bio / Endorsements / Letters from / "In Depth" interview on Book TV [C-SPAN2]: Endorsement. (shrink)

Aristotle's way of thinking has normally been understood as hostile to any liberal, pluralistic, or commercial society. In Liberal Nature, Rasmussen and Den Uyl set out to show that the Aristotelian approach to ethics supports the natural rights which form the most secure basis for liberal principles. The authors lay the foundations for their thesis by rebutting the most prominent arguments against the Aristotelian approach; they then offer a new interpretation for Aristotelian ethics as a natural-end ethics in which human (...) flourishing is the ultimate moral standard. (shrink)

Memoirs of a twenty-year relationship between the author and Ayn Rand, who was his friend, mentor, lover, and enemy. No index. No bibliography. Annotation copyrighted by Book News, Inc., Portland, OR.

The bestselling biography of one of the 20th century's most remarkable and controversial writers. Author Barbara Branden, who knew Rand for nineteen years, provides a matchless portrait of this fiercely private and complex woman.

THE 25TH ANNIVERSARY EDITION—The definitive statement of Ayn Rand’s philosophy as interpreted by her best student and chosen heir. This brilliantly conceived and organized book is Dr. Leonard Peikoff’s classic text on the abstract principles and practical applications of Objectivism, based on his lecture series “The Philosophy of Objectivism.” Ayn Rand said of these lectures: “Until or unless I write a comprehensive treatise on my philosophy, Dr. Peikoff’s course is the only authorized presentation of the entire theoretical structure of Objectivism—that (...) is, the only one that I know of my knowledge to be fully accurate.” In Objectivism, Peikoff covers every philosophic topic that Rand regarded as important—from certainty to money, from logic to art, from measurement to sex. Drawn from Rand’s published works as well as in-depth conversations between her and Peikoff, these chapters illuminate Objectivism—and its creator—with startling clarity. With Objectivism, the millions of readers who have been transformed by Atlas Shrugged and The Fountainhead will discover the full philosophical system underlying Ayn Rand’s work. (shrink)

This landmark anthology is the first to engage critically the writings of Ayn Rand from feminist perspectives. The interdisciplinary feminist strategies of re-reading Rand range from the lightness of camp to the darkness of de Sade, from postandrogyny to poststructuralism. A highly charged dialogue on Rand's legacy provides the forum for a reexamination of feminism and its relationship to egoism, individualism, and capitalism. Rand's place in contemporary feminism is assessed through comparisons with other twentieth-century feminists, such as de Beauvoir, Wolf, (...) Paglia, Eisler, and Gilligan. What results is as provocative in its implications for Rand's system as it is for feminism. (shrink)

ROBERT L. CAMPBELL explains how Ayn Rand 's epistemology drew on ideas and findings from the Cognitive Revolution, the change in American psychology during the 1950' s that re-established mental processes as an object of study and overthrew behaviorism. Particularly noticeable is Rand 's reliance on George Miller's conclusions regarding limited cognitive capacity, and her broad agreement with Noam Chomsky's devastating critique of B. F. Skinner 's behaviorism. Both Rand 's points of contact-and differences-with the Cognitive Revolution are discussed. Once (...) the impact of the Cognitive Revolution on Rand is recognized, her insistence that philosophy owes nothing to psychology becomes harder to defend. (shrink)

“Through centuries of scourges and disasters, brought about by your code of morality, you have cried that your code had been broken, that the scourges were punishment for breaking it, that men were too weak and too selfish to spill all the blood it required. You damned man, you damned existence, you damned this earth, but never dared to question your code. . . . You went on crying that your code was noble, but human nature was not good enough (...) to practice it. And no one rose to ask the question: Good?—by what standard? (shrink)

A review of the anthology, Feminist Interpretations of Ayn Rand.

ROGER E. BISSELL challenges Ayn Rand's interpretation of the nature of musical perception. Abandoning her earlier Jamesian view of sensation and perception for the flawed Helmholtizian model, Rand overlooked the musical-literary analogy and its usefulness in understanding and evaluating musical experience. Using Rand's analysis of esthetic "identification" and findings of psychophysiological research, Bissell aims to correct this error and to make a stronger case for the underlying unity of the arts.