Search

Browse

Anthropology (20) Art (100) Business and Finance (32) Cognitive Science and Psychology (34) Communication and Journalism (29) Economics (106) Education (38) History (90) Human Geography (18) Interdisciplinary (22) Language and Linguistics (98) Law (9) Music Studies (12) Philosophy (160) Political Science and International Relations (81) Sociology (240) Statistics and Quantitative Methods (16) Philosophy (46) Sociology (30) Education (29) Series in Literary Studies (27) Politics (19) Language and Linguistics (16) World History (15) Art (14) Bridging Languages and Scholarship (13) Philosophy of Religion (13) Cognitive Science and Psychology (12) Critical Perspectives on Social Science (12) Anthropology (11) Economics (11) Business and Finance (10) Curating and Interpreting Culture (9) Cinema and Culture (9) Music (9) Series in American History (8) Series in Critical Media Studies (7) Economic Methodology (7) Law (7) History of Art (7) Vernon Classics in Economics (6) Communication (6) Philosophy of Personalism (5) Series on Climate Change and Society (5) Economic Development (5) Economic History (5) Philosophy of Forgiveness (4) Performing Arts (4) Series in Creative Writing Studies (3) History of Science (3) Series in Built Environment (2) Series in Contemporary History (2) Series in Innovation Studies (2) Serie en Estudios Culturales (1) Serie en Filosofía (1) Series in Classical Studies (1) Series in Design (1) Series in Heritage Studies (1) Series in Philosophy of Science (1) Series in Social Equality and Justice (1) Series in Urban Studies (1) The Interdisciplinary Built Environment (1) Economics of Technological Change (1) English Spanish
by Author


Browsing with filters

Subject: History

We Hold These Truths to Be Self-Evident: The National Guard and the Categorical Imperative

Anne C. Armstrong, National Guard Educational Foundation; National Guard Memorial Museum, Library, and Archive

May 2021 / ISBN: 978-1-64889-148-9
Availability: In stock
158pp. ¦ $44 £33 €38

In this monograph, Dr. Armstrong argues that a nation founded in Enlightenment theory can rely on Kant’s categorical imperative as a rationale for voluntary service in one’s local National Guard. Since the 19th century, a Utilitarian argument has been the favored rationale, but in We Hold These Truths to be Self-Evident: The National Guard and the Categorical Imperative Dr. Armstrong contends that there is also a normative rationale. The author traces Guard history from its inception in 1636 to the present day and applies Kant’s unchanging categorical imperative to volunteer service in the militias. She highlights that this is an ideal that is not always met by frail human beings but that the categorical imperative is always there, lurking in the historical record. With a thorough analysis of Kant’s reasoning, the theory is chronologically applied to volunteer service in the National Guard through the perspective of the leadership of each particular era. This book is ideal for the study of American history, Enlightenment philosophy, and political science. It will appeal to scholars and academics as well as officers in Professional Military Education (PME), service academies and War Colleges, and the National Defense University.

A Theory of Wonder: Evolution, Brain and the Radical Nature of Science

Gonzalo Munévar, Lawrence Technological University

June 2021 / ISBN: 978-1-64889-197-7
Availability: In stock
206pp. [Color] ¦ $73 £53 €60

‘A Theory of Wonder’ aims to determine the best way science can satisfy our sense of wonder by exploring the world. Empiricism tells us that science succeeds because it follows the scientific method: Observation passes judgment on Theory – supporting or rejecting it. Much credit is given to the inventor of the method, Galileo, but when historically-minded philosophers of science like Kuhn and Feyerabend called our attention to what Galileo actually wrote and did, we were shocked to find out that Galileo instead drives a dagger through the heart of empiricism; he strikes down the distinction between theory and observation. Plain facts, like the vertical fall of a stone, ruled out the motion of the Earth. To conclude that the stone really falls vertically, however, we must assume that the Earth does not move. If it does move, then the stone only “seems” to fall vertically. Galileo then replaced the “facts” against the motion of the Earth with “facts” that included such motion. This process is typical during scientific revolutions. A good strategy for science is to elaborate radical alternatives; then, and on their basis, reconsider what counts as evidence. Feyerabend was called irrational for this suggestion; but looking at the practice of science from the perspective of evolution and neuroscience shows that the suggestion is very reasonable instead, and, moreover, explains why science works best as a radical form of knowledge. It also leads to a sensible biological form of relative truth, with preliminary drafts leading to exciting discussions with other researchers in the philosophy of science. This book will be of particular interest to university students, instructors and researchers in history or philosophy of science, as well as those with a general interest in the nature of science.

Duncan and Marjorie Phillips and America’s First Museum of Modern Art

Pamela Carter-Birken

March 2021 / ISBN: 978-1-64889-107-6
Availability: In stock
176pp. ¦ $43 £32 €36

He was born to privilege and sought the world of art. She lived at the center of that world—a working artist encouraged by the famous artists in her extended family. Together, Duncan Phillips and Marjorie Acker Phillips founded The Phillips Collection in Washington, D.C., the first museum of modern art in America. It opened in the grand Phillips family home in 1921, eight years before New York City’s Museum of Modern Art and only a few weeks after they wed. Duncan took the lead in developing the collection and showcasing it. Marjorie kept space and time to paint. Duncan considered Marjorie a partner in the museum even though she was not directly involved in all purchasing and presentation decisions. To him, her influence was omnipresent. Although Duncan’s writings on artists and art history were widely published, he chose not to provide much instruction for visitors to the museum. Instead, he combined signature methods of displaying art which live on at The Phillips Collection. Phillips had viewers in mind when he hung American art with European art—or art of the past with modern art, and he frequently rearranged works to stimulate fresh encounters. With unfettered access to archival material, author Pamela Carter-Birken argues that The Phillips Collection’s relevancy comes from Duncan Phillips’s commitment to providing optimal conditions for personal exploration of art. In-depth collecting of certain artists was one of Phillips’s methods of encouraging independent thinking in viewers. Paintings by Pierre Bonnard, Arthur Dove, Georgia O’Keeffe, John Marin, Jacob Lawrence, and Mark Rothko provide testament to the power of America’s first museum of modern art.

New worlds for old words / Mundos nuevos para viejas palabras

The impact of cultured borrowing on the languages of Western Europe / El impacto de los cultismos en los idiomas de Europa occidental

Edited by Christopher Pountain, Queen Mary University of London and Bozena Wislocka Breit, Queen Mary University of London

May 2021 / ISBN: 978-1-64889-193-9
Availability: In stock
305pp. ¦ $61 £46 €52

"New worlds for old words / Mundos nuevos para viejas palabras" is a collection of chapters on the theme of lexical borrowing in the languages of Western Europe with particular focus on borrowing from Latin, or from Greek via Latin, into Spanish. Such cultured, or “learnèd” borrowing—as it has sometimes been designated—, is an especially intriguing feature of the Romance languages, since they also derive from Latin. It is also of particular interest to historical linguists since it is an example of what has been called “change from above”: innovation first evidenced in the written usage of the culturally élite which then diffuses into more general acceptance, with the result that some cultured borrowings (e.g. problem/problema, social, program(me)/programa) are now amongst the most common words in the modern languages. Despite their enormous influence on such major languages as English, Spanish, Portuguese, French, and Italian, the mechanisms by which these borrowings become established in their host languages have to date been relatively little studied. This book seeks to make a contribution to this question and revive interest in what has become a neglected area of historical linguistics and contains contributions both by internationally respected scholars and new researchers in the field. This bilingual collection will appeal to academics, scholars, and postgraduate students of Hispanic Studies, Cultural History, and particularly Historical Linguistics and Romance Linguistics. "New worlds for old words / Mundos nuevos para viejas palabras" es una colección sobre los préstamos léxicos en los idiomas de Europa occidental, centrándose sobre todo en los préstamos del latín, o del griego a través del latín, al español. Los cultismos son un rasgo especialmente interesante de las lenguas romances, ya que ellos mismos proceden del latín. También es de gran interés para la lingüística histórica dado que es un ejemplo de lo que se conoce como “cambio desde arriba”: cambios atestiguados primero en la lengua escrita de la élite cultural que luego comienza a tener un uso más generalizado, y cuyo resultado es que algunos de estos cultismos (por ejemplo “problema”, “social”, “programa”) se encuentran entre las palabras más comunes en los idiomas modernos. A pesar de su enorme influencia en lenguas tan importantes como el inglés, el español, el portugués, el francés o el italiano, los mecanismos por los que estos préstamos se establecen en los idiomas de acogida se han estudiado relativamente poco hasta ahora. Este volumen es una contribución a esta cuestión y su objetivo es reavivar el interés en lo que se ha convertido en un área olvidada de la lingüística diacrónica. Se incluyen capítulos de académicos conocidos internacionalmente y de investigadores noveles. Esta colección bilingüe será de gran utilidad para académicos, investigadores y alumnos de posgrado en estudios hispánicos, estudios culturales, y particularmente lingüística histórica y lingüística de las lenguas romances.

Duncan and Marjorie Phillips and America’s First Museum of Modern Art

Pamela Carter-Birken

March 2021 / ISBN: 978-1-64889-212-7
Availability: In stock
176pp. [Color] ¦ $75 £55 €62

He was born to privilege and sought the world of art. She lived at the center of that world—a working artist encouraged by the famous artists in her extended family. Together, Duncan Phillips and Marjorie Acker Phillips founded The Phillips Collection in Washington, D.C., the first museum of modern art in America. It opened in the grand Phillips family home in 1921, eight years before New York City’s Museum of Modern Art and only a few weeks after they wed. Duncan took the lead in developing the collection and showcasing it. Marjorie kept space and time to paint. Duncan considered Marjorie a partner in the museum even though she was not directly involved in all purchasing and presentation decisions. To him, her influence was omnipresent. Although Duncan’s writings on artists and art history were widely published, he chose not to provide much instruction for visitors to the museum. Instead, he combined signature methods of displaying art which live on at The Phillips Collection. Phillips had viewers in mind when he hung American art with European art—or art of the past with modern art, and he frequently rearranged works to stimulate fresh encounters. With unfettered access to archival material, author Pamela Carter-Birken argues that The Phillips Collection’s relevancy comes from Duncan Phillips’s commitment to providing optimal conditions for personal exploration of art. In-depth collecting of certain artists was one of Phillips’s methods of encouraging independent thinking in viewers. Paintings by Pierre Bonnard, Arthur Dove, Georgia O’Keeffe, John Marin, Jacob Lawrence, and Mark Rothko provide testament to the power of America’s first museum of modern art.

EV MDC SSL