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Poems (Paperback)
George Santayana
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R407
Discovery Miles 4 070
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Ships in 12 - 17 working days
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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
All five volumes of George Santayana's philosophical masterwork
exploring the manifestations of reason in life are united in this
superb edition. The Life of Reason begins boldly, with Santayana
explaining his concept of reason in great detail. How a mind may
embark and progress on applying rational thought to life is
explained, and the practical value of such thinking methods are
demonstrated. The second volume sees the author questioning whether
men can be exhorted to virtuous behaviors without the concept of a
creator, heaven, hell or other supernatural concepts. The third
volume, Reason in Religion, is an emotional and at times
autobiographical account of Santayana's own struggles with faith.
Volumes four and five concern science and art, respectively. The
basis of artistic expression and its grounding in reasoning is
discussed, with chapters dedicated to the visual art of painting
and also music.
From antiquity to the present, many have written on the subject of
beauty, but precious few have done so with the capacity themselves
to write beautifully. The Sense of Beauty is that rare exception.
This remarkable early work of the great American philosopher,
George Santayana, features a quality of prose that is as wondrous
as what he had to say. Indeed, his summation remains a flawless
classical statement. "Beauty seems to be the clearest manifestation
of perfection, and the best evidence of its possibility. If
perfection is, as it should be, the ultimate justification of
being, we may understand the ground of the moral dignity of beauty.
Be'auty is a pledge of the possible conformity between the soul and
nature, and consequently a ground of faith in the supremacy of the
good." The editor of this new edition, John McGormick, reminds us
that The Sense of Beauty is the first work in aesthetics written in
the United States. Santayana was versed in the history of his
subject, from Plato and Aristotle to Schopenhauer and Taine in the
nineteenth century. Santayana took as his task a complete
rethinking of the idea that beauty is embedded in objects. Rather
beauty is an emotion, a value, and a sense of the good. In this,
aesthetics was unlike ethics: not a correction of evil or pursuit
of the virtuous. Rather it is a pleasure that resides in the sense
of self. The work is divided into chapters on the materials of
beauty, form and expression. A good many of Santayana's later works
are presaged by this early effort. And this volume also anticipates
the development of art as a movement as well as a value apart from
other aspects of life. The work is written without posturing,
without hectoring. Santayana is nonetheless able to give expression
to strong views. His preferences are made perfectly plain. Perhaps
the key is a powerful belief that beauty is an adornment not a
material necessity. But that does mean art is trivial. Quite the
contrary, the good life is precisely the extent to which such
"adornments" as painting, poetry or music come to define the lives
of individuals and civilizations alike. This is, in short, a major
work that can still inform and move us a century after its first
composition.
George Santayana was one of the most influential twentieth-century
philosophers. Because of his broad-ranging interests and lack of
any permanent home in one particular country, he has often been
stereotyped as a meditative philosopher removed from the world,
living in what he himself called the "realm of spirit" among
eternal essences. While there is some truth in this
characterization, it is also true that Santayana was a penetrating
analyst and critic of contemporary societies.'Character and Opinion
in the United States' is his comprehensive critique of American
thought and civilization and reflects the detached cosmopolitan
perspective that lent his criticism its characteristic objectivity
and strength. Santayana's subject here is the conflict of
materialism and idealism in American life. In his view there exists
a dualism in the American mind: One side, dealing with religion,
literature, philosophy, and morality, tended to stay with
inherited, old doctrines-the genteel tradition-and failed to keep
pace with the other, practical side and its new developments in
industry, invention, and social organization. Santayana traces the
first mentality to Calvinism and its sense of sin, an attitude out
of keeping with a new civilization and the dominance of practical
interests. As a consequence of separating philosophy from everyday
life, its study merely served religious and moral interests cut off
from the free search for truth. At the heart of the book is
Santayana's examination of the influential thought of William James
and Josiah Royce, who typified for him the dilemma of American
thought. The subordination of thought to social form and custom
underlies Santayana's sharp critique of academic philosophy at
Harvard where he early on studied and taught. He was disturbed by
the very idea of philosophy as an academic discipline. Philosophy,
he felt, should be an individual, original creation, "something
dark, perilous, untested, and not ripe to be taught" Santayana's
analysis of how social imperatives may impede the pursuit of
knowledge remains pertinent to contemporary intellectual debate.
This volume ill be of interest to philosophers, intellectual
historians, and American studies specialists.
Andri Gide once said that Feodor Dostoevsky "lost himself in the
characters of his books, and, for this reason, it is in them that
he can be found again." In Dostoevsky: The Author as Psychoanalyst,
Louis Breger approaches Dostoevsky psychoanalytically, not as a
"patient" to be analyzed, but as a fellow psychoanalyst, someone
whose life and fiction are intertwined in the process of literary
self-exploration.Raskolnikov's dream of the suffering horse in
Crime and Punishment has become one of the best known in all
literature, its rich imagery expressing meaning on many levels.
Using this as a starting point, Breger goes on to offer a detailed
analysis of the novel, situating it at the pivotal point in
Dostoevsky's life between the death of his first wife and his
second marriage. Using insights from his psychological training,
Breger also explores other works by Dostoevsky, among them his
early novel, The Double, which Breger relates to the nervous
breakdown that Dostoevsky suffered in his twenties, as well as
Notes from Underground, The Possessed, The Idiot, The Brothers
Karamazov, and so forth. Additionally, details from Dostoevsky's
own life - his compulsive gambling, his epilepsy, his
philosophical, political, religious, and mystical beliefs, and the
interpretations of them found in existing biographies - are
analyzed in detail.
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