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.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

This book pursues the problem of whether violence can be understood to be constitutive of its own sense or meaning, as opposed to being merely instrumental. Dodd draws on the resources of phenomenological philosophy, and takes the form of a series of dialogues between figures both inside and outside of this tradition. The central figures considered include Carl von Clausewitz, Carl Schmitt, Hannah Arendt, Jean-Paul Sartre, Ernst Junger, and Martin Heidegger, and the study concludes with an analysis of the philosophy of Jan Patocka.

This book pursues the problem of whether violence can be understood to be constitutive of its own sense or meaning, as opposed to being merely instrumental. Dodd draws on the resources of phenomenological philosophy, and takes the form of a series of dialogues between figures both inside and outside of this tradition. The central figures considered include Carl von Clausewitz, Carl Schmitt, Hannah Arendt, Jean-Paul Sartre, Ernst Junger, and Martin Heidegger, and the study concludes with an analysis of the philosophy of Jan Patocka.

"I recommend to every Architect, designer and those who have a passion for New York to own this magnificent book...there is no better on the extraordinary Beaux Arts of New York." -Lemeau, Decorator's Insider "This great, beautiful, glossy, polychromatic slab of a book more than does justice to an epic period in architecture when some of the world's most luscious buildings were designed for some of the most unpleasant people in American history." - Timothy Brittain-Catlin, World of Interiors "New York would be little more than another faceless glass-and-steel city were it not for its Gilded Age buildings and institutions... An American Renaissance: Beaux-Arts Architecture in New York City, written by Phillip James Dodd with photography by Jonathan Wallen, is a gilded embrace of this legacy."- The Critic The Gilded Age, also referred to as the American Renaissance, is an era associated with unparalleled growth, technological advancement, prosperity, and cultural change. Spanning from the 1870s to the 1930s, it marks the first time that the titans of American finance and industry had more wealth than their European counterparts. As the centre of this dynamic economy, New York City attracted immigrant workers and millionaires alike. It was not enough for the self-appointed elite to just build their own grand chateaux and palazzos along Fifth Avenue-collectively they dreamed of creating a new metropolis to rival the great cultural capitals of London, Paris, and Rome. To flaunt their newly acquired wealth they needed an architecture dripping in embellishment and historical reference. Enter the Beaux-Arts. This book, which has been painstakingly researched and beautifully photographed over many years, takes a close look at 20 of the finest examples of Beaux-Arts architecture in New York City. While showing public exteriors, its focus is on the lavish interiors that are associated with the opulence of the Gilded Age-often providing a glimpse inside buildings not otherwise viewable to the public. While some of the buildings and monuments featured are world-renowned landmarks recognisable and accessible to all, others are obscure buildings that history has forgotten. Set amid the magnificent achievements of an American Renaissance, this book recounts not only the fascinating stories of some of New York's most famous and significant Beaux-Arts landmarks, it also recalls the lives of those who commissioned, designed, and built them. These are some of the most acclaimed architects, artists, and artisans of the day-Daniel Chester French, Cass Gilbert, Charles McKim, Augustus Saint-Gaudens, Louis Comfort Tiffany, and Stanford White-and some of the most prominent millionaires in American history-Henry Clay Frick, Jay Gould, Otto Kahn, J.P. Morgan, John D. Rockefeller, and the ubiquitous Astor and Vanderbilt families. Names that-as Julian Fellowes (the acclaimed director of Downton Abbey) notes in the Foreword-"still reek of money." Excerpt from the Introduction

Religion, War and the Crisis of Modernity: A Special Issue Dedicated to the Philosophy of Jan Patocka The New Yearbook for Phenomenology and Phenomenological Philosophy provides an annual international forum for phenomenological research in the spirit of Husserl's groundbreaking work and the extension of this work by such figures as Scheler, Heidegger, Sartre, Levinas, Merleau-Ponty and Gadamer. Contributors: Ivan Chvatik, Nicolas de Warren, James Dodd, Eddo Evink, Ludger Hagedorn, Jean-Luc Marion, Claire Perryman-Holt, Marcia Sa Cavalcante Schuback, Michael Staudigl, Christian Sternad , and Lubica Ucnik.

Following up on his previous book, Violence and Phenomenology, James Dodd presents here an expanded and deepened reflection on the problem of violence. The book's six essays are guided by a skeptical philosophical attitude about the meaning of violence that refuses to conform to the exigencies of essence and the stable patterns of lived experience. Each essay tracks a discoverable, sometimes familiar figure of violence, while at the same time questioning its limits and revealing sites of its resistance to conceptualization. Dodd's essays are readings as much as they are reflections; attempts at interpretation as much as they are attempts to push concepts of violence to their limits. They draw upon a range of different authors-Sartre, Levinas, Schelling, Scheler, and Husserl-and historical moments, but without any attempt to reduce them into a series of examples elucidating a comprehensive theory. The aim is to follow a path of distinctively episodic and provisional modes of thinking and reflection that offers a potential glimpse at how violence can be understood.

Following up on his previous book, Violence and Phenomenology, James Dodd presents here an expanded and deepened reflection on the problem of violence. The book's six essays are guided by a skeptical philosophical attitude about the meaning of violence that refuses to conform to the exigencies of essence and the stable patterns of lived experience. Each essay tracks a discoverable, sometimes familiar figure of violence, while at the same time questioning its limits and revealing sites of its resistance to conceptualization. Dodd's essays are readings as much as they are reflections; attempts at interpretation as much as they are attempts to push concepts of violence to their limits. They draw upon a range of different authors-Sartre, Levinas, Schelling, Scheler, and Husserl-and historical moments, but without any attempt to reduce them into a series of examples elucidating a comprehensive theory. The aim is to follow a path of distinctively episodic and provisional modes of thinking and reflection that offers a potential glimpse at how violence can be understood.

"Showcasing 25 residences by today's leading classical architects, this wonderful new book also addresses the fundamental issue of collaboration between architect, decorator, landscaper, and the enormous cast of characters who bring their formidable talents to the realization of every project. An Ideal Collaboration is an important addition to the literature of architecture and design." - Ellie Cullman "An Ideal Collaboration shares a place in my library next to volumes on great 20th century Classicists. It is essential as a visual reference to the continued evolution of timeless style." - Steven Gambrel In the follow-up to the critically acclaimed The Art of Classical Details, Phillip James Dodd continues his look at some of the finest examples of contemporary classical architecture in Great Britain and the United States, while also examining how collaboration is the key to their successful design. In reality, collaborative relationships are rare, especially amongst designers, where each is often focused on their own individual objectives and unable to transcend their own egos. Often used as a catch phase, but not often realised, true collaboration requires an understanding - and an appreciation - of the role that all parties play in the design and construction of a home. An Ideal Collaboration includes the work of some of the most notable names in contemporary residential design. Architects, decorators, landscape designers, consultants, builders, craftsmen, artists and vendors, all address the design process and the pivotal role that collaboration plays in creating cohesive timeless designs.

Heretical Essays is Patocka's final work, and one of his most exciting and iconoclastic. Patocka begins with prehistory, approached through the "natural world" as conceived by Husserl and Heidegger. According to Patocka, nature is as an alien construct, and history, which began as a quest for higher meaning, ends with life as self-sustaining consumption. Patocka explains how Europe declined from its Greek heritage to seek power rather than truth, splintering into ethnic subdivisions, and then how the Enlightenment moved Europe from an ethical to a material orientation. This book includes a translation of the Preface to the French Edition by Paul Ricoeur.

A nuanced reflection on the meaning and resonance of Patočka’s philosophy Foregrounding the turbulent political and intellectual scene in Czechoslovakia following the Prague Spring in 1968, James Dodd explores the unity of philosophy, history, and politics in Jan Patočka’s life and legacy. James Dodd presents Patočka as an essential philosopher of modern concepts—such as freedom, subjectivity, and history—and also as an interpreter of prominent thinkers such as Husserl and Heidegger. Dodd outlines the phenomenology that Patočka, as a late pupil of Husserl and Heidegger, crafted in response to the classical model before turning to his philosophy of history, which was oriented around the problem of Europe and the care for the soul. Finally, Dodd examines Patočka’s role as a dissident intellectual and one of the principal voices of the Charter 77 human rights movement before his death in March 1977. By situating Patočka’s thought in relation to classical phenomenology and to the political and historical conditions of Central Europe, Dodd illuminates the enduring impact of this key thinker of the twentieth century.

_Building the Wooden Fighting Ship_ is a fascinating account of the building of an historic ship, as well as a vivid and often surprising account of life and labour in the eighteenth century. In an age before industrialisation, the warship was the most complex object built by man and employed the most advanced technology of its time. Naval vessels of the period were, not surprisingly, so expensive to construct that meticulous records were kept, from the purchasing of timbers to the last details of their furnishings and armament, including even the individual names of some of the shipwrights and craftsmen. By carefully studying these records, the authors have reconstructed, in extraordinary detail, the building of HMS Thunderer -a two-decked, 74-gun ship-of-the-line. In words and specially drawn illustrations, contemporary prints and paintings, the authors show every stage of the building of this ship, from the purchase and cutting of timbers right through to the launch in 1760\. There are descriptions of Woolwich dockyard where she was built and details of all the skills and trades involved in her construction. First published in 1984, this book is a beautiful and highly informative work on a significant aspect of the Royal Navy and will appeal to enthusiasts, modellers, historians and anyone with an interest in traditional crafts.

Patocka's celebrated Introduction is here made available in English for the first time. In addition to introducing Husserl's ideas, this book is also an important work of original philosophy. Patocka ranges over the whole of Husserl's output, from The Philosophy of Arithmetic to The Crisis of the European Sciences, and traces the evolution of all the central issues of Husserlian phenomenology--intentionality, categorial intuition, temporality, the subject-body; the concrete a priori, and transcendental subjectivity. But rather than attempting to give a tour of Husserl's workshop, Patocka is himself hard at work on Husserl's problems.