This volume, Paul Grice’s first book, includes the long-delayed publication of his enormously influential 1967 William James Lectures. But there is much, much more in this work. Grice himself has carefully arranged and framed the sequence of essays to emphasize not a certain set of ideas but a habit of mind, a style of philosophizing.

Grice has, to be sure, provided philosophy with crucial ideas. His account of speaker-meaning is the standard that others use to define their own minor divergences or future elaborations. His discussion of conversational implicatures has given philosophers an important tool for the investigation of all sorts of problems; it has also laid the foundation for a great deal of work by other philosophers and linguists about presupposition. His metaphysical defense of absolute values is starting to be considered the beginning of a new phase in philosophy. This is a vital book for all who are interested in Anglo-American philosophy.

The image of a tortured genius working in near isolation has long dominated our conceptions of the artist’s studio. Examples abound: think Jackson Pollock dripping resin on a cicada carcass in his shed in the Hamptons. But times have changed; ever since Andy Warhol declared his art space a “factory,” artists have begun to envision themselves as the leaders of production teams, and their sense of what it means to be in the studio has altered just as dramatically as their practices.

The Studio Reader pulls back the curtain from the art world to reveal the real activities behind artistic production. What does it mean to be in the studio? What is the space of the studio in the artist’s practice? How do studios help artists envision their agency and, beyond that, their own lives? This forward-thinking anthology features an all-star array of contributors, ranging from Svetlana Alpers, Bruce Nauman, and Robert Storr to Daniel Buren, Carolee Schneemann, and Buzz Spector, each of whom locates the studio both spatially and conceptually—at the center of an art world that careens across institutions, markets, and disciplines. A companion for anyone engaged with the spectacular sites of art at its making, The Studio Reader reconsiders this crucial space as an actual way of being that illuminates our understanding of both artists and the world they inhabit.

The Renaissance marked a turning point in Europe’s relationship to Arabic thought. On the one hand, Dag Nikolaus Hasse argues, it was the period in which important Arabic traditions reached the peak of their influence in Europe. On the other hand, it is the time when the West began to forget, and even actively suppress, its debt to Arabic culture. Success and Suppression traces the complex story of Arabic influence on Renaissance thought.

It is often assumed that the Renaissance had little interest in Arabic sciences and philosophy, because humanist polemics from the period attacked Arabic learning and championed Greek civilization. Yet Hasse shows that Renaissance denials of Arabic influence emerged not because scholars of the time rejected that intellectual tradition altogether but because a small group of anti-Arab hard-liners strove to suppress its powerful and persuasive influence. The period witnessed a boom in new translations and multivolume editions of Arabic authors, and European philosophers and scientists incorporated—and often celebrated—Arabic thought in their work, especially in medicine, philosophy, and astrology. But the famous Arabic authorities were a prominent obstacle to the Renaissance project of renewing European academic culture through Greece and Rome, and radical reformers accused Arabic science of linguistic corruption, plagiarism, or irreligion. Hasse shows how a mixture of ideological and scientific motives led to the decline of some Arabic traditions in important areas of European culture, while others continued to flourish.

This poem belongs of the little-known Newari (Nepal Bhasha) language and literature, specifically to its even less known Buddhist version. It is one of the very rare cases that works in Newari language appear outside Nepal.

In nineteen long cantos, the Sugata Saurabha tells of the life of the Buddha, following the traditional accounts, but situates it in the strongly local context of Newar and Nepali Buddhism. It emulates the classical (Kavya) style of the long-standing Indian tradition, and has been inspired by the 2,000-year-old Sanskrit poem, the Buddhacarita. Consequently, the poet inserts stanzas composed in traditional classical Sanskrit meter, though written in polished Newari.

The poem was composed by the greatest modern writer in Newari language, Chittadhar Hrdaya (1906– 1982), while he was imprisoned by the autocratic strongly pro-Hindu Rana regime that governed Nepal from the mid-nineteenth to the mid-twentieth century.

The poem is the best-known work of the flowering of modern Newari literature that emerged after the restrictions of the Rana regime were lifted in 1950.

Next to the Socratic Method, the best method for organizing a logical debate over a controversial philosophical or theological issue is the method St. Thomas Aquinas uses in the Summa Theologiae. As the charm of the Socratic dialogue is its dramatic length, its uncertainty, and the psychological dimension of a clash between live characters, so the charm of the Summa method is the opposite: its condensation and its impersonality, objectivity, simplicity, directness, and logical clarity. Beginning philosophy students pick up both methods very quickly, and write adept imitations of them. It’s both profitable and fun to do it.    Yet professionally philosophers have not followed these tried-and-true roads. Why not? Probably it is pride, the refusal to stoop to conquer, the confusion of “stooped” with “stupid.”

      Peter Kreeft has written over a dozen books of Socratic dialogues, and readers like them – they like the form, or format, irrespective of the content. There is no reason that the Summa format cannot produce the same results. It is a very simple five-step procedure: (1) the formulation of the question; (2) the opponent’s leading objections to your answer or thesis, formulated as clearly and fairly and strongly as possible; (3) a short argument from some recognized past authority for your thesis; (4) your own longer, original argument; and (5) a refutation of each objection, “deconstructing” it and showing how and where it went wrong . . . all in one or two pages, severely condensed, clear and simple (and therefore usually in syllogisms, the clearest and simplest and most direct form of logical argument).

     Kreeft has taken 110 of the most important and most often argued-about questions in each major division of philosophy and applied this method to it. The answers usually match common sense (and therefore Aristotle’s philosophy and Aquinas’s theology). At the very least, this is a useful philosophical reference book for arguments; not necessarily the elaborate and artificial arguments that might occur to contemporary “analytic” philosophers, but the arguments ordinary people would give, and still give on both sides of these great questions. Why no one has written such a book before is mind-boggling. We fully expect that many readers of this book will imitate it, as Kreeft has imitated Aquinas. This book is pregnant with many children.

From an eminent scholar, a spirited introduction to one of the great polymaths in the history of Europe.

Blaise Pascal (1623–1662) is best known in the English-speaking world for his contributions to mathematics and physics, with both a triangle and a law in fluid mechanics named after him. Meanwhile, the classic film My Night at Maud’s popularized Pascal’s wager, an invitation to faith that has inspired generations of theologians. Despite the immensity of his reputation, few read him outside French schools. In A Summer with Pascal, celebrated literary critic Antoine Compagnon opens our minds to a figure somehow both towering and ignored.

Compagnon provides a bird’s-eye view of Pascal’s life and significance, making this volume an ideal introduction. Still, scholars and neophytes alike will profit greatly from his masterful readings of the Pensées—a cornerstone of Western philosophy—and the Provincial Letters, in which Pascal advanced wry theological critiques of his contemporaries. The concise, taut chapters build upon one another, easing into writings often thought to be forbidding and dour. With Compagnon as our guide, these works are not just accessible but enchanting.

A Summer with Pascal brings the early modern thinker to life in the present. In an age of profound existential doubt and assaults on truth and reason, in which religion and science are so often crudely opposed, Pascal’s sophisticated commitment to both challenges us to meet the world with true intellectual vigor.

The history of mountaineering has long served as a metaphor for civilization triumphant. Once upon a time, the Alps were an inaccessible habitat of specters and dragons, until heroic men—pioneers of enlightenment—scaled their summits, classified their strata and flora, and banished the phantoms forever. A fascinating interdisciplinary study of the first ascents of the major Alpine peaks and Mount Everest, The Summits of Modern Man surveys the far-ranging significance of our encounters with the world’s most alluring and forbidding heights.

Our obsession with “who got to the top first” may have begun in 1786, the year Jacques Balmat and Michel-Gabriel Paccard climbed Mont Blanc and inaugurated an era in which Romantic notions of the sublime spurred climbers’ aspirations. In the following decades, climbing lost its revolutionary cachet as it became associated instead with bourgeois outdoor leisure. Still, the mythic stories of mountaineers, threaded through with themes of imperialism, masculinity, and ascendant Western science and culture, seized the imagination of artists and historians well into the twentieth century, providing grist for stage shows, poetry, films, and landscape paintings.

Today, we live on the threshold of a hot planet, where melting glaciers and rising sea levels create ambivalence about the conquest of nature. Long after Hillary and Tenzing’s ascent of Everest, though, the image of modern man supreme on the mountaintop retains its currency. Peter Hansen’s exploration of these persistent images indicates how difficult it is to imagine our relationship with nature in terms other than domination.

September 11, 2001, distinguished Cold War historian John Lewis Gaddis argues, was not the first time a surprise attack shattered American assumptions about national security and reshaped American grand strategy. We've been there before, and have responded each time by dramatically expanding our security responsibilities.

The pattern began in 1814, when the British attacked Washington, burning the White House and the Capitol. This early violation of homeland security gave rise to a strategy of unilateralism and preemption, best articulated by John Quincy Adams, aimed at maintaining strength beyond challenge throughout the North American continent. It remained in place for over a century. Only when the Japanese attacked Pearl Harbor in 1941 did the inadequacies of this strategy become evident: as a consequence, the administration of Franklin D. Roosevelt devised a new grand strategy of cooperation with allies on an intercontinental scale to defeat authoritarianism. That strategy defined the American approach throughout World War II and the Cold War.

The terrorist attacks of 9/11, Gaddis writes, made it clear that this strategy was now insufficient to ensure American security. The Bush administration has, therefore, devised a new grand strategy whose foundations lie in the nineteenth-century tradition of unilateralism, preemption, and hegemony, projected this time on a global scale. How successful it will be in the face of twenty-first-century challenges is the question that confronts us. This provocative book, informed by the experiences of the past but focused on the present and the future, is one of the first attempts by a major scholar of grand strategy and international relations to provide an answer.

Media critics invariably disparage the quality of programming produced by the U.S. television industry. But why the industry produces what it does is a question largely unasked. It is this question, at the crux of American popular culture, that Switching Channels explores.

In the past twenty-five years, the expansion of cable and satellite systems has transformed television. Richard Caves examines the economics of this phenomenon--and the nature and logic of the broadcast networks' response to the incursion of cable TV, especially the shift to inexpensive unscripted game and "reality" shows and "news" magazines. An explanation of these changes, Caves argues, requires an understanding of two very different sectors: the "creative industry," which produces programs; and the commercial channels, which bring them to viewers. His book shows how distributors' judgment of profitability determines the quality and character of the programs the creative industry produces. This determination, writes Caves, depends on the number and types of viewers that various programs can attract and advertisers' willingness to pay for their attention, as well as the organization of the networks that package programs, the distributors that transmit them, and the deals these parties strike with one another.

Half a century into the digital era, the profound impact of information technology on intellectual and cultural life is universally acknowledged but still poorly understood. The sheer complexity of the technology coupled with the rapid pace of change makes it increasingly difficult to establish common ground and to promote thoughtful discussion. 

Responding to this challenge, Switching Codes brings together leading American and European scholars, scientists, and artists—including Charles Bernstein, Ian Foster, Bruno Latour, Alan Liu, and Richard Powers—to consider how the precipitous growth of digital information and its associated technologies are transforming the ways we think and act. Employing a wide range of forms, including essay, dialogue, short fiction, and game design, this book aims to model and foster discussion between IT specialists, who typically have scant training in the humanities or traditional arts, and scholars and artists, who often understand little about the technologies that are so radically transforming their fields. Switching Codes will be an indispensable volume for anyone seeking to understand the impact of digital technology on contemporary culture, including scientists, educators, policymakers, and artists, alike.