This book holds classical liberalism responsible for an American concept of beauty that centers upon women, wilderness, and machines. For each of the three beauty components, a cultural entrepreneur supremely sensitive to liberalism's survival agenda is introduced. P.T. Barnum's exhibition of Jenny Lind is a masterful combination of female elegance and female potency in the subsistence realm. John Muir's Yosemite Valley is surely exquisite, but only after a rigorous liberal education prepares for its experience. And Harley Earl's 1955 Chevrolet Bel Air is a dreamy expressionist sculpture, but with a practical 265 cubic inch V-8 underneath. Not that American beauty has been uniformly pragmatic. The 1950s are reconsidered for having temporarily facilitated a relaxation of the liberal survival priorities, and the creations of painter Jackson Pollock and jazz virtuoso Ornette Coleman are evaluated for their resistance to the pressures of pragmatism. The author concludes with a provocative speculation regarding a future liberal habitat where Emerson's admonition to attach stars to wagons is rescinded.

Marcuse brings back to center stage one of the most celebrated and controversial philosophers of the turbulent 1960s, the man Time magazine called the "guru of the New Left."

In "Reason and Revolution," "Eros and Civilization," "One-Dimensional Man," and other notable works, Herbert Marcuse crystallized the essence of counterculture philosophy. His neo-Marxist critique of Western capitalism was widely embraced by revolutionaries, "hippies," and an entire generation of academics who condemned political, economic, and sexual repression in American society. So complete was Marcuse's identification with the New Left that, with its demise, he and his works fell out of favor. But, as this volume persuasively demonstrates, Marcuse remains vitally relevant for us today.

Returning to Marcuse may recall the clash of idealistic exuberance and tragic violence associated with Woodstock, Haight-Ashbury, the Vietnam War, 1968 Democratic Convention, Kent State, and Earth Day, as well as the passionate voices of anti-war and civil rights protesters, environmentalists, feminists, and free love advocates. But this volume does not cater to the simplistic nostalgia of aging baby-boomers.

Fifteen leading Marcuse scholars, including Marcuse's son Peter, assess the philosopher's ideas in the radically different theoretical and political contexts of the 1990s. The range of topics covered is distinctly contemporary--Foucault and postmodern theories, analytical Marxism and the demise of the Soviet Union, women's studies and feminist psychoanalytic theory, aesthetic consciousness and postmodern art, radical ecology and cybernetic technology--and includes Douglas Kellner's revealing first look at the unpublished manuscripts in the Marcuse Archives in Frankfurt.

Sure to excite liberal as well as irritate conservative culture warriors, these provocative essays illuminate the outlines of a Marcuse revival and the Next Left as both emerge to confront the complex challenges of our times.

In his more recent works, Herbert Marcuse has come to appreciate the liberatory potential of the aesthetic practice. This book traces the development of that appreciation. A discussion of Kant's aesthetic theory, and Marcuse's improvement of it, is included.