The book is the first English translation of Nicolai Hartmann's final book, published in 1953. It will be of value to graduate students in philosophy, scholars concerned with 20th century Continental philosophy, students of aesthetics and art history and criticism, and persons in and out of academic philosophy who wish to develop their aesthetic understanding and responsiveness to art and music. Aesthetics, Hartmann believes, centers on the phenomenon of beauty, and art "objectivates" beauty, but beauty exists only for a prepared observer. Part One explores the act of aesthetic appreciation and its relation to the aesthetic object. It discovers phenomenologically determinable levels of apprehension. Beauty appears when an observer peers through the physical foreground of the work into the strata upon which form has been bestowed by an artist in the process of expressing some theme. The theory of the stratification of aesthetic objects is perhaps Hartmann's most original and fundamental contribution to aesthetics. He makes useful and perceptive distinctions between the levels in which beauty is given to perception by nature, in the performing and the plastic arts, and in literature of all kinds. Part Two develops the phenomenology of beauty in each of the fine arts. Then Hartmann explores some traditional categories of European aesthetics, most centrally those of unity of value and of truth in art. Part Three discusses the forms of aesthetic values. Hartmann contrasts aesthetic values with moral values, and this exploration culminates in an extensive phenomenological exhibition of three specific aesthetic values, the sublime, the charming, and the comic. A brief appendix, never completed by the author, contains some reflections upon the ontological implications of aesthetics. Engaged in constant dialogue with thinkers of the past, especially with Aristotle, Kant and Hegel, Hartmann corrects and develops their insights by reference to familiar phenomena of art, especially with Shakespeare, Rembrandt and Greek sculpture and architecture. In the course of his analysis, he considers truth in art (the true-to-life and the essential truth), the value of art, and the relation of art and morality. The work stands with other great 20th century contributors to art theory and philosophical aesthetics: Heidegger, Sartre, Croce, Adorno, Ingarden, and Benjamin, among others.

The Basics of Western Philosophy is an introductory work for students and the general reader. The book is divided into two parts. Part I examines the process of philosophical discourse, including discussions of some of its greatest practitioners, elementary techniques of logical analysis, and a sketch of the history of philosophy from its earliest beginnings among the ancient Greeks to the current day. Part II considers the major problems of philosophy: metaphysics, epistemology, ethics, social philosophy, philosophy of religion, and philosophical anthropology. Each chapter focuses on a set of philosophical concepts that are central to a specific idea in philosophy, while offering insights into philosophical questions relevant to the central problem. The ideas of the great philosophers regarding that problem are presented in detail and subjected to analysis and criticism. Frequent sidebars contain background information or capsule biographies of the philosophers. Included are an extensive bibliography, an index, illustrations, and a timeline that marks the dates of philosophers and schools of philosophy in each era.

The book is the first English translation of Nicolai Hartmann's final book, published in 1953. It will be of value to graduate students in philosophy, scholars concerned with 20th century Continental philosophy, students of aesthetics and art history and criticism, and persons in and out of academic philosophy who wish to develop their aesthetic understanding and responsiveness to art and music. Aesthetics, Hartmann believes, centers on the phenomenon of beauty, and art "objectivates" beauty, but beauty exists only for a prepared observer. Part One explores the act of aesthetic appreciation and its relation to the aesthetic object. It discovers phenomenologically determinable levels of apprehension.Beauty appears when an observer peers through the physical foreground of the work into the strata upon which form has been bestowed by an artist in the process of expressing some theme. The theory of the stratification of aesthetic objects is perhaps Hartmann's most original and fundamental contribution to aesthetics. He makes useful and perceptive distinctions between the levels in which beauty is given to perception by nature, in the performing and the plastic arts, and in literature of all kinds. Part Two develops the phenomenology of beauty in each of the fine arts. Then Hartmann explores some traditional categories of European aesthetics, most centrally those of unity of value and of truth in art. Part Three discusses the forms of aesthetic values. Hartmann contrasts aesthetic values with moral values, and this exploration culminates in an extensive phenomenological exhibition of three specific aesthetic values, the sublime, the charming, and the comic. A brief appendix, never completed by the author, contains some reflections upon the ontological implications of aesthetics. Engaged in constant dialogue with thinkers of the past, especially with Aristotle, Kant and Hegel, Hartmann corrects and develops their insights by reference to familiar phenomena of art, especially with Shakespeare, Rembrandt and Greek sculpture and architecture. In the course of his analysis, he considers truth in art (the true-to-life and the essential truth), the value of art, and the relation of art and morality. The workstands with other great 20th century contributors to art theory and philosophical aesthetics: Heidegger, Sartre, Croce, Adorno, Ingarden, and Benjamin, among others.

Purge is a novel of political hypocrisy, intrigue, brutality, and falsification. It is a work of fiction based on a composite of people, places and events in the Soviet Union during the period beginning in 1934, approximately a decade after the death of Lenin, the "father" of the Bolshevik Revolution, and revolving around Stalin, who, despite Lenin's misgivings, succeeded him at the apex of Bolshevik power.

Upon Scheler's death in 1928, Martin Heidegger remarked that he was the most important force in philosophy at the time. Jose Ortegay Gasset called Scheler 'the first man of the philosophical paradise.' ""The Human Place in the Cosmos"", the last of his works Scheler completed, is a pivotal piece in the development of his writing as a whole, marking a peculiar shift in his approach and thought. He had been asked to provide an initial sketch of his much larger works on philosophical anthropology and metaphysics - works he was not able to complete because of his early demise.Frings' new translation of this key work allows us to read and understand Scheler's thought within current philosophical debates and interests. The book addresses two main questions: What is the human being? And what is the place of the human being in the universe? Scheler responds to these questions within contexts of his projected larger works but not without reference to scientific research. He covers various levels of being: inorganic reality, organic reality (including plant life and psychological life), all the way up to practical intelligence and the spiritual dimension of human beings, and touching upon the holy.Negotiating two intertwined levels of being, life-energy ('impulsion') and 'spirit', this work marks not only a critical moment in the development of his own philosophy but also a significant contribution to the current discussions of continental and analytic philosophers on the nature of the person.

Man Alive, Eugene Kelly's first solo album since the demise of his group Eugenius, is a charming, low-key effort full of his trademark wit, humor, and songcraft. The bulk of the album is made up of chiming guitar pop tunes with sweet vocal harmonies that wouldn't sound out of place on a Teenage Fanclub record -- just add Kelly's laconic vocals and world view. Indeed Kelly has learned much about the jangle from his fellow Scots. There is none of the grungy heaviness that often turned Eugenius songs into muddy filler. Now Kelly's songs are either light and tender ("I'll Be Yours," "Older, Faster") or rich and expansive ("Noise and Smoky Breath," "The Healing Power of Firewalking"). Either way they are refreshing and quite lovely. Equally as nice are the songs with a folky, acoustic feel like "Sinking Ship," "She Wears My Rings," and "Dear John" that betray a newfound maturity and the rocked-out tunes like "Ride the Dream Comet," "You're Having My Sex," and the cute, should-be-a-hit "I'm Done with Drugs." Taken together you have a fully rounded-out album that ought to make fans of Kelly -- and of intelligent and fun guitar rock -- glad the man has dragged himself back out on the tiles. ~ Tim Sendra