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Switch to: Citations
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The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington. |
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"Groundbreaking when first published in 1969, this book is now of even greater relevance to make the reader aware of the need to educate the visual sense, a ... |
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Described by the philosopher A.J. Ayer as a work of 'great originality and power', this book revolutionized contemporary thinking on science and knowledge. Ideas such as the now legendary doctrine of 'falsificationism' electrified the scientific community, influencing even working scientists, as well as post-war philosophy. This astonishing work ranks alongside The Open Society and Its Enemies as one of Popper's most enduring books and contains insights and arguments that demand to be read to this day. |
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"Prompted by modern critical discussions, the fourteen papers, lectures and articles assembled in this volume revolve around issues raised by twentieth-century art and theory."--Amazon. |
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This book brings together Wollheim's broad and abiding concerns to illuminate human thought at its furthest reaches of introspection and expression. |
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The late Maurice Mandelbaum was one of the most consistent and determined defenders of philosophical and social realism and of what he called "methodological institutionalism." This can be seen as containing a theory of human agency and a theory of how the social world comes to be institutionally structured, or what can be called a "structurist" theory. Mandelbaurn has argued for the irreducibility of social concepts and the necessity of scientific social laws for social and historical explanation. Purpose and Necessity (...) |
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It is difficult to overestimate the impact, beginning in the 1960s, which Gombrich’s discussion of visual representation made on a good number of theorists in an entire generation of thinking about art and—even more—about literary art. For literary theory and criticism were at least as affected by his work as were theory and criticism in the plastic arts. Art and Illusion radically undermined the terms which had controlled discussion of how art represented “reality”—or, rather, how viewers or members of the (...) |
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