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This text examines one of the most important trends in German art of the 20th century.

Appearing for the first time in English, Günter Figal’s groundbreaking book in the tradition of philosophical hermeneutics offers original perspectives on perennial philosophical problems.Günter Figal has long been recognized as one of the most insightful interpreters working in the tradition of philosophical hermeneutics and its leading themes concerned with ancient Greek thought, art, language, and history. With this book, Figal presses this tradition of philosophical hermeneutics in new directions. In his effort to forge philosophical hermeneutics into a hermeneutical philosophy, Figal develops an original critique of the objectification of the world that emerges in modernity as the first stage in his systematic treatment of the elements of experience hermeneutically understood. Breaking through the prejudices of modernity, but not sacrificing the importance and challenge of the objective world that confronts us and is in need of interpretation, Figal reorients how it is that philosophy should take up some of its most longstanding and stubborn questions. World, object, space, language, freedom, time, and life are refreshed as philosophical notions here since they are each regarded as elements of human life engaged in the task assigned to each of us―the task of understanding ourselves and our world.

In Objectivity Is Not Neutrality, Thomas L. Haskell argues for a moderate historicism that acknowledges the force of perspective and reaffirms the pluralistic practices of a liberal democratic society -- even while upholding time-honored distinctions between fact and fiction, scholarship and propaganda, right and might. Haskell addresses questions that will interest philosophers and literary theorists no less than historians, exploring topics ranging from the productivity of slave labor to the cultural concomitants of capitalism, from John Stuart Mill's youthful "mental crisis" to the cognitive preconditions that set the stage for antislavery and other humanitarian reforms after 1750. He traces the surprisingly short history of the word responsibility, which turns out to be no older than the United States. He examines the reasons for the rising authority of professional experts in nineteenth-century America. And he wonders whether the epistemological radicalism of recent years leaves us with any adequate basis for justifying human rights--rights of academic freedom, for example, or the right not to be tortured. Written by a thoughtful critic of the historical profession, Objectivity Is Not Neutrality calls upon historians to think deeply about the nature of historical explanation and to acknowledge more fully than ever before the theoretical dimension of their work.

What is objectivity? What is the rule of law? Are the operations of legal systems objective? If so, in what ways and to what degrees are they objective? Does anything of importance depend on the objectivity of law? These are some of the principal questions addressed by Matthew H. Kramer in this lucid and wide-ranging study that introduces readers to vital areas of philosophical enquiry.

The first two parts of Objectivity and Insight explore the prospects for objectivity on the standard ontological conception, and find that they are not good. In Part I, under the heading of subject-driven scepticism, Sacks addresses the problem of securing epistemic reach that extends beyond subjective content. In so doing, he considers models of mind proposed by Locke, Hume, Kant, James, and Bergson. Part II, under the heading of world-driven scepticism, discusses the scope for universality of normative structure-a problem which survives even after the assumption of an epistemologically significant breach between subject and object has been rejected. In the third part of the book Sacks introduces an alternative conception of objectivity, and shows that there is good reason to accept it. This conception turns on an insight which is taken to be implicit in transcendental idealism, and responsible for its abiding appeal; but Sacks's articulation of that insight is neither idealist nor metaphysical.

The emergence of objectivity in the mid-nineteenth-century sciences, as revealed through images in scientific atlases―a story of how lofty epistemic ideals fuse with workaday practices.Objectivity has a history, and it is full of surprises. In Objectivity, Lorraine Daston and Peter Galison chart the emergence of objectivity in the mid-nineteenth-century sciences―and show how the concept differs from its alternatives, truth-to-nature and trained judgment. This is a story of lofty epistemic ideals fused with workaday practices in the making of scientific images.From the eighteenth through the early twenty-first centuries, the images that reveal the deepest commitments of the empirical sciences―from anatomy to crystallography―are those featured in scientific atlases, the compendia that teach practitioners what is worth looking at and how to look at it. Galison and Daston use atlas images to uncover a hidden history of scientific objectivity and its rivals. Whether an atlas maker idealizes an image to capture the essentials in the name of truth-to-nature or refuses to erase even the most incidental detail in the name of objectivity or highlights patterns in the name of trained judgment is a decision enforced by an ethos as well as by an epistemology.As Daston and Galison argue, atlases shape the subjects as well as the objects of science. To pursue objectivity―or truth-to-nature or trained judgment―is simultaneously to cultivate a distinctive scientific self wherein knowing and knower converge. Moreover, the very point at which they visibly converge is in the very act of seeing not as a separate individual but as a member of a particular scientific community. Embedded in the atlas image, therefore, are the traces of consequential choices about knowledge, persona, and collective sight. Objectivity is a book addressed to anyone interested in the elusive and crucial notion of objectivity―and in what it means to peer into the world scientifically.

vi 262p paperback, stamps to endpaper and shelfmark to spine, no markings in text, very neat and firm copy, hardly read, very good copy from a Cambridge college library, scarce, out of print

This book addresses a central topic in contemporary jurisprudence, namely, whether it is possible for legal interpretations to be objective. The author argues that objectivity is possible in law, and grounds this possibility firmly in metaphysics, philosophy of mind and language, and meta-ethics. He then systematically explores the philosophical prejudices that have operated as sources of resistance to this possibility. These prejudices, once identified, help to illuminate fundamental debates in jurisprudence.

The emergence of objectivity in the mid-nineteenth-century sciences, as revealed through images in scientific atlases―a story of how lofty epistemic ideals fuse with workaday practices.Objectivity has a history, and it is full of surprises. In Objectivity, Lorraine Daston and Peter Galison chart the emergence of objectivity in the mid-nineteenth-century sciences―and show how the concept differs from its alternatives, truth-to-nature and trained judgment. This is a story of lofty epistemic ideals fused with workaday practices in the making of scientific images.From the eighteenth through the early twenty-first centuries, the images that reveal the deepest commitments of the empirical sciences―from anatomy to crystallography―are those featured in scientific atlases, the compendia that teach practitioners what is worth looking at and how to look at it. Galison and Daston use atlas images to uncover a hidden history of scientific objectivity and its rivals. Whether an atlas maker idealizes an image to capture the essentials in the name of truth-to-nature or refuses to erase even the most incidental detail in the name of objectivity or highlights patterns in the name of trained judgment is a decision enforced by an ethos as well as by an epistemology.As Daston and Galison argue, atlases shape the subjects as well as the objects of science. To pursue objectivity―or truth-to-nature or trained judgment―is simultaneously to cultivate a distinctive scientific self wherein knowing and knower converge. Moreover, the very point at which they visibly converge is in the very act of seeing not as a separate individual but as a member of a particular scientific community. Embedded in the atlas image, therefore, are the traces of consequential choices about knowledge, persona, and collective sight. Objectivity is a book addressed to anyone interested in the elusive and crucial notion of objectivity―and in what it means to peer into the world scientifically.

What is objectivity? What is the rule of law? Are the operations of legal systems objective? If so, in what ways and to what degrees are they objective? Does anything of importance depend on the objectivity of law? These are some of the principal questions addressed by Matthew H. Kramer in this lucid and wide-ranging study that introduces readers to vital areas of philosophical enquiry.

This beautifully illustrated book brings together a dazzling variety of works and provides fresh insight into artistic expressions of life in the Weimar Republic. Between the end of World War I and the Nazi rise to power, Germany’s Weimar Republic (1919-1933) was a thriving laboratory of art and culture. As the country experienced unprecedented and often tumultuous social, economic, and political upheaval, many artists rejected Expressionism in favor of a new realism to capture this emerging society. Dubbed Neue Sachlichkeit―New Objectivity―its adherents turned a cold eye on the new Germany: its desperate prostitutes and crippled war veterans, its alienated urban landscapes, its decadent underworld where anything was available for a price. Showcasing 150 works by more than 50 artists, this book reflects the full diversity and strategies of New Objectivity. Organized around five thematic sections, it mixes photography, works on paper, and painting to bring them into a visual dialogue. Artists such as Otto Dix, George Grosz, and Max Beckmann are included alongside Christian Schad, Alexander Kanoldt, Georg Schrimpf, August Sander, Lotte Jacobi, and Aenne Biermann. Also included are essays that examine the politics of New Objectivity and its legacy; its relation to international art movements of the time; the context of gender roles and sexuality; and the influence of new technology and consumer goods.

This text examines one of the most important trends in German art of the 20th century.

Appearing for the first time in English, Günter Figal’s groundbreaking book in the tradition of philosophical hermeneutics offers original perspectives on perennial philosophical problems.Günter Figal has long been recognized as one of the most insightful interpreters working in the tradition of philosophical hermeneutics and its leading themes concerned with ancient Greek thought, art, language, and history. With this book, Figal presses this tradition of philosophical hermeneutics in new directions. In his effort to forge philosophical hermeneutics into a hermeneutical philosophy, Figal develops an original critique of the objectification of the world that emerges in modernity as the first stage in his systematic treatment of the elements of experience hermeneutically understood. Breaking through the prejudices of modernity, but not sacrificing the importance and challenge of the objective world that confronts us and is in need of interpretation, Figal reorients how it is that philosophy should take up some of its most longstanding and stubborn questions. World, object, space, language, freedom, time, and life are refreshed as philosophical notions here since they are each regarded as elements of human life engaged in the task assigned to each of us―the task of understanding ourselves and our world.

In this volume Rorty offers a Deweyan account of objectivity as intersubjectivity, one that drops claims about universal validity and instead focuses on utility for the purposes of a community. The sense in which the natural sciences are exemplary for inquiry is explicated in terms of the moral virtues of scientific communities rather than in terms of a special scientific method. The volume concludes with reflections on the relation of social democratic politics to philosophy.

The lessons on demand series is designed to provide ready to use resources for novel study. In this book you will find key vocabulary, student organizer pages, and assessments. This guide is divided into two sections. Section one is the teacher section which consists of vocabulary and activities. Section two holds all of the student pages, including assessments and graphic organizers.

This beautifully illustrated book brings together a dazzling variety of works and provides fresh insight into artistic expressions of life in the Weimar Republic. Between the end of World War I and the Nazi rise to power, Germany’s Weimar Republic (1919-1933) was a thriving laboratory of art and culture. As the country experienced unprecedented and often tumultuous social, economic, and political upheaval, many artists rejected Expressionism in favor of a new realism to capture this emerging society. Dubbed Neue Sachlichkeit―New Objectivity―its adherents turned a cold eye on the new Germany: its desperate prostitutes and crippled war veterans, its alienated urban landscapes, its decadent underworld where anything was available for a price. Showcasing 150 works by more than 50 artists, this book reflects the full diversity and strategies of New Objectivity. Organized around five thematic sections, it mixes photography, works on paper, and painting to bring them into a visual dialogue. Artists such as Otto Dix, George Grosz, and Max Beckmann are included alongside Christian Schad, Alexander Kanoldt, Georg Schrimpf, August Sander, Lotte Jacobi, and Aenne Biermann. Also included are essays that examine the politics of New Objectivity and its legacy; its relation to international art movements of the time; the context of gender roles and sexuality; and the influence of new technology and consumer goods.

A cabinet of beguiling yet useful curiosities: the objects that get jobs done, improve domestic and working lives, and make our houses more comfortable. If you have ever thatched a roof, measured a baby’s skull, or castrated a bull, you will recognize some of these objects. If you haven’t but admire the work of, say, Warhol, Duchamp, or Cornell, you will appreciate these accidental masterpieces of daily life. Some tools were developed to satisfy basic human needs, some for less obvious ends, and still others are the relics of vanishing trades, yet all display a beauty and meaning beyond their function. More than 400 objects, ancient and modern, are presented in sections that broadly characterize their use: hitting, cutting, holding, shielding, molding, spreading, gripping, rubbing, and testing. From a nineteenth-century fruit picker to Czech military food-mixing blades, from variations on the kitchen whisk to medical instruments that, thankfully, are no longer in use, there is something in these objects that will touch the inventor, designer, artist, or collector in all of us. 400+ color photographs and illustrations

In the early 1920s, the emotionalism of German Expressionism was replaced by a cooler perspective. The artists of the New Objectivity looked at everyday life outside the house, in the street and the gutter, developing a new style. This book examines their art.

In Objectivity Is Not Neutrality, Thomas L. Haskell argues for a moderate historicism that acknowledges the force of perspective and reaffirms the pluralistic practices of a liberal democratic society -- even while upholding time-honored distinctions between fact and fiction, scholarship and propaganda, right and might. Haskell addresses questions that will interest philosophers and literary theorists no less than historians, exploring topics ranging from the productivity of slave labor to the cultural concomitants of capitalism, from John Stuart Mill's youthful "mental crisis" to the cognitive preconditions that set the stage for antislavery and other humanitarian reforms after 1750. He traces the surprisingly short history of the word responsibility, which turns out to be no older than the United States. He examines the reasons for the rising authority of professional experts in nineteenth-century America. And he wonders whether the epistemological radicalism of recent years leaves us with any adequate basis for justifying human rights--rights of academic freedom, for example, or the right not to be tortured. Written by a thoughtful critic of the historical profession, Objectivity Is Not Neutrality calls upon historians to think deeply about the nature of historical explanation and to acknowledge more fully than ever before the theoretical dimension of their work.

Worries about scientific objectivity seem never-ending. Social critics and philosophers of science have argued that invocations of objectivity are often little more than attempts to boost the status of a claim, while calls for value neutrality may be used to suppress otherwise valid dissenting positions. Objectivity is used sometimes to advance democratic agendas, at other times to block them; sometimes for increasing the growth of knowledge, at others to resist it. Sandra Harding is not ready to throw out objectivity quite yet. For all of its problems, she contends that objectivity is too powerful a concept simply to abandon. In Objectivity and Diversity, Harding calls for a science that is both more epistemically adequate and socially just, a science that would ask: How are the lives of the most economically and politically vulnerable groups affected by a particular piece of research? Do they have a say in whether and how the research is done? Should empirically reliable systems of indigenous knowledge count as "real science"? Ultimately, Harding argues for a shift from the ideal of a neutral, disinterested science to one that prizes fairness and responsibility.