First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

This book, first published in 1930 and reissued in 1961, examines the Western phenomenon of the rise of the 'mass-man'. Analysing the state of society before the Second World War, acclaimed philosopher Ortega y Gasset lays bare the problems that faced the countries of Europe in a book that resonates today in the imposition of direct action over discussion.

This book, first published in 1930 and reissued in 1961, examines the Western phenomenon of the rise of the 'mass-man'. Analysing the state of society before the Second World War, acclaimed philosopher Ortega y Gasset lays bare the problems that faced the countries of Europe in a book that resonates today in the imposition of direct action over discussion.

An Aldana Libros Book, Greystone Kids Kids 9 to 12 will laugh out loud while reading this adventurous graphic novel, which brings an African folk tale to life for a new audience. When Sarra's parents die, they leave her with an important warning: never let Dan Auta, her little brother, cry. But Dan Auta loves to make trouble. He hitches a ride on the back of a bird, pokes the eye of the king's son, and even pees on the king's head. Making sure he doesn't cry is much harder than Sarra thought! But Dan Auta's unbridled curiosity and determination may be exactly what everyone needs: a terrible monster called the Dodo is attacking the city... and Dan Auta is the only one with the courage to take him on. Dan Auta features: A delightful celebration of mischief and bravery A portrait of the extraordinary things kids are capable of when they follow their own paths Lively illustrations from renowned illustrator Piet Grobler Supplementary material that explains the folk tale's significance

In 1930, the great Spanish philosopher Jos Ortega y Gasset set forth a program for reforming the modern Spanish university. Aware that the missions of the university are many and often competing, Ortega built his program around a conception of a general culture that knows no national boundaries or time limits and could fit into any national system of higher education. His ideas are especially pertinent to contemporary debate in America over curriculum development and the purpose of education. In this volume Ortega sought to answer two essential questions: what is the knowledge most worth knowing by all students and what is the function of the university in a modern democracy? Basing his answers on his own deep personal culture and an extensive knowledge of the various European university systems, Ortega defined four primary missions: the teaching of the learned professions, the fostering of scientific research, training for political leadership, and finally the creation of cultured persons with the ability to make intellectual interpretations of the world. Ortega's understanding of general culture is set out in great detail here. He meant an active engagement in ideas and issues that were both historical and contemporary. His concern is with the classical problems of justice, the good society, who should rule, and the responsibilities of citizenship. This edition first published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

A classic work on radical aesthetics by one of the great philosophers of the early twentieth century No work of philosopher and essayist Jose Ortega y Gasset has been more frequently cited, admired, or criticized than his response to modernism, "The Dehumanization of Art." The essay, originally published in Spanish in 1925, grappled with the newness of nonrepresentational art and sought to make it more understandable to the public. Many embraced the essay as a manifesto extolling the virtues of vanguard artists and promoting efforts to abandon the realism and the romanticism of the nineteenth century. Others took it as a denunciation of everything that was radical about the avant-garde. This Princeton Classics edition makes this essential work, along with four of Ortega's other critical essays, available in English. A new foreword by Anthony J. Cascardi considers how Ortega's philosophy remains relevant and significant in the twenty-first century.

No work of Spanish philosopher and essayist Jose Ortega y Gasset has been more frequently cited, admired, or criticized than his defense of modernism, "The Dehumanization of Art." In the essay, originally published in Spanish in 1925, Ortega grappled philosophically with the newness of nonrepresentational art and sought to make it more understandable to a public confused by it. Many embraced the essay as a manifesto extolling the virtues of vanguard artists and promoting their efforts to abandon the realism and the romanticism of the nineteenth century.

The "dehumanization" of the title, which was meant descriptively rather than pejoratively, referred most literally to the absence of human forms in nonrepresentational art, but also to its insistent unpopularity, its indifference to the past, and its iconoclasm. Ortega championed what he saw as a new cultural politics with the goal of a total transformation of society.

Ortega was an immensely gifted writer in the best belletristic tradition. His work has been compared to an iceberg because it hides the critical mass of its erudition beneath the surface, and because it is deceptive, appearing to be more spontaneous and informal than it really is.

Princeton published the first English translation of the essay paired with another entitled "Notes on the Novel." Three essays were later added to make an expanded edition, published in 1968, under the title "The Dehumanization of Art and Other Essays on Art, Culture and Literature .""

En el ambito del pensamiento, la preocupacion por Espana estuvo representada en el proyecto novecentista por Ortega y Gasset. Las Meditaciones del Quijote fue el primer libro publicado por Ortega, en 1914. Es el punto de partida de toda su obra posterior. Sobre la conviccion intima del caracter fundamental del Quijote, su profundidad y su plenitud espanola, el autor hila estas Meditaciones concentrando en el libro de Cervantes sus preocupaciones en relacion con el tema de Espana.

2012 Reprint of 1957 Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. Ortega y Gasset's influence was considerable, not only because many sympathized with his philosophical writings, but also because his writings did not require that the reader be well read in technical philosophy. Among those strongly influenced by Ortega y Gasset were Luis Bunuel, Manuel Garcia Morente, Xavier Zubiri, Ignacio Ellacuria, Emilio Komar, Jose Gaos, Luis Recasens Siches, Manuel Granell, Francisco Ayala, Maria Zambrano, Agustin Basave, Pedro Lain Entralgo, John Lukacs, Pierre Bourdieu, and Paulino Garagorri. Ortega y Gasset influenced existentialism and the work of Martin Heidegger. In this book Ortega y Gasset takes on the subject of love. Chapters include: Features of Love; Love in Stendhal; The Role of Choice in Love; Thoughts on Standing Before the Marquesa de Santillana's Portrait; Landscape with a Deer in the Background; Portrait of Salome and Toward a Psychology of the Interesting Man.

First published in 1914, Meditations on Quixote was Ortega's first book. It has immensely grown in value with time, and since the 1930's, when Ortega himself began to refer back to it in his later writings, it has become more and more important among students of his philosophy as a key to fuller understanding of his work. It may be said to represent the core of Ortega's thought, especially in regard to art and literature. Only as a point of reference is this book concerned with Quixote. As was his custom, Ortega ranges widely and offers profound insights on Mediterranean culture, epic poetry, tragedy and comedy, the nature of the novel, the relation of poetry to reality, and many other subjects.

2012 Reprint of 1921 Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. Spanish Language edition. Through a series of ""essays in intellectual love,"" Ortega explores the aim of philosophy: to carry a given fact (a person, a book, a landscape, an error, a sorrow) by the shortest route to its fullest significance. He then considers how literature, specifically Cervantes, contributes to realizing this aim. Arguing that ""we are all heroes in some measure,"" that ""heroism lies dormant everywhere as a possibility,"" and that ""the will to be oneself is heroism,"" Ortega urges us to integrate the possible into our conception of the real. He presents "Quixote" as a profound book, full of references and allusions to the universal meaning of life, a book that presents with maximum intensity the particular mode of human existence that is peculiarly Spanish. A call to his fellow Spaniards to join him in forging a new Spain, Ortega's "Meditations on Quixote" is also an invitation to his fellow humans to take up the challenge of literature, opening our minds and seeking all-embracing connections with the world and its people."

Ortega's response is an original contribution to the psychology of perception. But, as was his habit, Ortega ranges far beyond his ostensible subject; the book may properly be characterized as an heroic attempt to clarify the nature and grounds of truth. It develops ideas contained in his first book, Meditations on Quixote, and introduces new concepts--such as core or nodal problems in any field of inquiry--which would have lasting consequences in his work. This volume includes an appendix, "Toward a Philosophical Dictionary," which defines terms important to lectures.

Ortega begins with a detailed definition of a principle and with an examination of the specific principles formulated by Leibnitz. He goes on to examine Leibnitz. He goes on to examine Leibnitz s complex and mercurial attitudes towards principles and discusses the effects of these attitudes on his philosophy and on contributions to mathematics and logic."

As the editor, Paulino Garagorri, points out, the text here translated was essentially a transcription of two cycles of lectures that Ortega gave. Clearly they were delivered, as was his custom, from notes based on the intricate filing system that he used. Thus the resulting text was the record of an oral, extempore presentation from scant notes, with one or two passages read from printed or written works.

The prospectus that announced the creation of The Institute of the Humanities promised an inaugural course of twelve lectures, to be given by its founder and entitled, "Concerning a New Interpretation of International History. (Exposition and Examination of A. J. Toynbee's work, A Study of History.)" But the course as given (in 1948-49) went much farther than that announcement, for the "examination" consisted principally of a critique of Toynbee's work from the point of view of Ortega's own doctrines, together with the unfolding of his personal ideas about the science of history and the progress of peoples-in particular the Romans-with frequent side excursions, meant to be systematic, into the crisis of the present time. The central theme of these pages becomes "the analysis of life established in illegitimacy . . . of which the two gigantic examples are the declining days of the Roman Empire and the period in which we ourselves are living." To the modern crisis, Ortega brings a basic analysis and a program of reform for intelligence by which contemporary life might emerge from the confusion it now suffers.

Ortega deals here with the roots and historical justification of philosophy, and the question of philosophy's essential unity.