History: Fiction or Science? (Chronology, No. 1)

Book Description

Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.

Customer Reviews:

Calculations are only as good as your numbers.......2007-08-03

Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.

Pants on fire?.......2007-07-19

Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.

Accepted History & Chronology Must Be Changed. .......2007-04-09

There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.

For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.

Very Interesting.......2007-03-07

It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.

History as Science Fiction.......2007-01-10

Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.

I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.

Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.

Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.

I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.

This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.

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A guide to Transitions in Art
Umberto Eco book
Excellent introduction to the Aesthetics of Beauty
A delightful catalog and tease
The beauty is easy to define: It's all what it desperates us!

History of Beauty
Umberto Eco
Manufacturer: Rizzoli International Publications
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Binding: Hardcover

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ASIN: 0847826465
Release Date: 2004-11-13

Amazon.com

Beauty is in the eye of the beholder, but it also has a lot to do with the beholder's cultural standards. In History of Beauty, renowned author Umberto Eco sets out to demonstrate how every historical era has had its own ideas about eye-appeal. Pages of charts that track archetypes of beauty through the ages ("nude Venus," "nude Adonis," and so forth) may suggest that this book is a historical survey of beautiful people portrayed in art. But History of Beauty is really about the history of philosophical and perceptual notions of perfection and how they have been applied to ideas and objects, as well as to the human body. This survey ranges over such themes as the mathematics of ideal proportions, the problem of representing ugliness, the fascination of the exotic and art for art's sake. Along the way, the text examines the intersection of standards of beauty with Christian belief, notions of the Sublime, the philosophies of Kant and Hegel, and bourgeois culture. More than 300 illustrations trace the history of Western art as it relates, in the broadest sense, to the topic of beauty.

Yet despite its wealth of information, History of Beauty is an odd and unsatisfying book. Beginning with ancient Greece and ending with a too-brief chapter on "The Beauty of the Media," the text focuses exclusively (and unapologetically) on the Western world. Ultimately, it seems that "beauty" serves simply as a sexy peg on which to hang an abbreviated history of Western culture. Readers expecting a sophisticated treatment of the subject will be surprised at the textbook-like design, with numbered sections and boldfaced words keyed to small-type excerpts from writings by thinkers ranging from Boethius to Barthes. The main narrative (or perhaps the translation from the Italian?) can be ponderous and awkward. Only nine of the 17 chapters were written by Eco; the remainder are by lesser-known Italian novelist Girolamo de Michele. All in all, it looks as though someone had the bright idea of translating a textbook for Italian students into English, hoping to coast on the fame of Eco's name. --Cathy Curtis

Book Description

What is beauty? What is art? What is taste and fashion? Is beauty something to be observed coolly and rationally or is it something dangerously involving? So begins Umberto Eco's intriguing journey into the aesthetics of beauty, in which he explores the ever-changing concept of the beautiful from the ancient Greeks to today. While closely examining the development of the visual arts and drawing on works of literature from each era, Eco broadens his enquiries to consider a range of concepts, including the idea of love, the unattainable woman, natural inspiration versus numeric formulas, and the continuing importance of ugliness, cruelty, and even the demonic.

Professor Eco takes us from classical antiquity to the present day, dispelling many preconceptions along the way and concluding that the relevance of his research is urgent because we live in an age of great reverence for beauty, "an orgy of tolerance, the total syncretism and the absolute and unstoppable polytheism of Beauty."

In this, his first illustrated book, Professor Eco offers a layered approach that includes a running narrative, abundant examples of painting and sculpture, and excerpts from writers and philosophers of each age, plus comparative tables. A true road map to the idea of beauty for any reader who wishes to journey into this wonderful realm with Eco's nimble mind as guide.

Customer Reviews:

A guide to Transitions in Art.......2007-06-03

I have been a fan of Mr. Eco's work since I read 'The Name of the Rose'. This book is a great example of the devotion Mr. Eco has in the imagery he describes in all of his other work (fictional and Non-Fictional). The book is sincere and a great guide though work which exemplifies the Beauty in the transitions Art has evolved though. The hard cover version of this book is beautiful indeed.

Umberto Eco book.......2007-02-18

The panels in this book are wonderful. Umberto Eco is known for excelllent research. If studying cosmetic history is something you are interested in doing, I highly recommend this book. Excellent choice!

Excellent introduction to the Aesthetics of Beauty.......2006-11-23

Umberto Eco is one of the world's leading experts on aesthetics and art, as well as being an outstanding novelist in his own right.

This work on the history of beauty is aimed at a general audience rather than a specialised one, and as such it abounds more in beautiful works of art and illustrations rather than scholarly analysis of art itself. However, it still contains an excellent history of the idea of beauty, and how artists through the ages have tried to implement somewhat abstract ideas, while philosophers and theologians have abstracted from art to apply artistic and creative terms to entities such as Platonic Forms or God.

One of the most interesting developments in the history of beauty was the identification of beauty with reality as it was in itself. Platonists identified the beautiful with the Good or the One, and Christians planted these ideas onto God. The notion that God was the most beautiful entity that existed, that God could be represented in art, and also that the cosmos in many ways is God's work of Art, expressed itself in many great works of art, poetry and architecture in the medieval period.

With the Renaissance, the concept of beauty became more grounded in human and earthly realities, and one sees far more focus on the beauty of material objects, nature, and people, as they are rather than their ideal nature. Art becomes more and more focused on the material world until the 20th century when in the era of late capitalism, art itself has become a consumable commodity and the chief virtue of art seems to be to cause pleasant feelings to arise in the consumer (something Andy Warhol satirises a lot in his works of art). Yet even in this period, artists still manage to create works of creative beauty which capture both the beautiful and the ugly, as we now see them.

This work is essential reading for anyone curious about Art and its history, and its relation to abstract ideas.

A delightful catalog and tease.......2006-08-16

This wonderful collection of art work History of Beauty edited by Umberto Eco attempts to answer the questions: What is beauty? What is art? What is taste and fashion? and Is beauty something to be observed coolly and rationally or is it something dangerously involving? With literally hundreds of reproductions of fine art works speaking to these questions, this book would be a joy even without the words. But of course the words tell the deeper story and attempt to give at least partial answers - sometimes directly, more often indirectly.

The chapters cover such things as the aesthetic ideal in ancient Greece, light and color in the Middle Ages, magic beauty between the 15th and 16th centuries, and romantic beauty. The reader and observer sees that the depiction of beauty has both changed and remained constant over the centuries. The symmetry, the color, the poetry might change with the art form while it is clear that the characteristics of the human bodies (both female and male) have not changed.

History of Beauty would make a wonderful coffee table book in any home except maybe those who find the naked body distasteful.

The beauty is easy to define: It's all what it desperates us!.......2006-01-17

This clever statement of Paul Valery works out as magnificent frame to remark this passionate and fabulous journey through the times. Umberto Eco is withtout any shadow of doubt, a true Renaissance man. His erudition becomes him a stalker, a wise explorer of the most significative aspects about the beauty in all orders. Of course, this ambitious and succesful project includes a whole vision since the initial premise of The Greeks around this concept, the Middle Age, Renaissance until our days.

But the visual support enriches still more, this invaluable information, the search of the beauty as main motive for many artists of the Past; its alluring charm ignited the febrile imagination of Novalis when affirmed: "Truth is beauty; beauty is truth".

All the positive adjectives of any reviewer will still remain incomplete to describe in its intrinsic grandness, the importance and transcendence of this outstanding essay.

Only a Promise of Happiness: The Place of Beauty in a World of Art

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A Broken Promise
Beauty and Ethics
"To think of beauty as only a promise of happiness is to be willing to live with ineradicable uncertainty" (pg. 130).

Only a Promise of Happiness: The Place of Beauty in a World of Art
Alexander Nehamas
Manufacturer: Princeton University Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 0691095213

Book Description

Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness, Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and desire, and to show that the values of art, independently of their moral worth, are equally crucial to the rest of life.

Nehamas makes his case with characteristic grace, sensitivity, and philosophical depth, supporting his arguments with searching studies of art and literature, high and low, from Thomas Mann's Death in Venice and Manet's Olympia to television. Throughout, the discussion of artworks is generously illustrated.

Beauty, Nehamas concludes, may depend on appearance, but this does not make it superficial. The perception of beauty manifests a hope that life would be better if the object of beauty were part of it. This hope can shape and direct our lives for better or worse. We may discover misery in pursuit of beauty, or find that beauty offers no more than a tantalizing promise of happiness. But if beauty is always dangerous, it is also a pressing human concern that we must seek to understand, and not suppress.

Customer Reviews:

A Broken Promise.......2007-05-09

I kept on reading through this book hoping to find the message, but, except for the early implication that beauty was but a vapor in the vision of the beholder and real art was for those critics qualified to go on endlessly about the hidden meaning of the work, it was not there. Tom Wolfe nailed this in The Painted Word, and I should have been warned. I wonder if this book had an editor. If so, he or she might have noticed that while many of the paintings, especially Manet's, were repeated several times, many obscure ones critical to appreciation of the text, were left to the reader's imagination. The book was too wordy and lacked organization, which might be consistent with its message. Worse, it exuded the sniffy attitude of an academician anxious for you to know the extent of his knowledge while demeaning yours. If beauty, as the ancient philosopher once wrote, is the good so good it leads to nothing better, then we are not decived in the contemplation of it for its own sake, even if it be, as Plato described it, but the shadow of pure Beauty. Some of the art here, was, indeed, beautiful, but none of the writing, and the promise broken was that of the reviewer who implied the book was a good read.

Beauty and Ethics.......2007-03-15

With so much of today's art having been reduced to silly and trite political statements, it is refreshing to be reminded that the greatest of artists, and the greatest of thinkers, have always consider genuine art to serve the purpose of elevating the human spirit. Alexander Nehamas masterfully reminds us of the profound philosophical tradition that understands the concept and experience of beauty to be essential to moving one toward a fuller life, a life that is centered on its concern for the well-being of the other. Along with rich philosophical reflections of thinkers ranging from Plato to Mann, Nehamas leads his reader on a journey of discovery: a journey that helps one discover what Plato considered to be the one basic human instinct: the instinct to respond to beauty. After reading this text, take a look at E. Scarry's work: Beauty and the Just, or some of the essays by I. Murdoch. You will, in the end, no longer be taken-in by today's artists who pose as poets, painters, or musicians, but who in fact simply use the aesthetic medium to propagate some sort of shallow and thoughtless political agenda.

"To think of beauty as only a promise of happiness is to be willing to live with ineradicable uncertainty" (pg. 130)........2007-03-07

This book mixes the philosophy of art, ethics, and language in a very creative way. Although Nehamas covers much ground, he pursues throughout a creative discovery of the meaning of Edouard Manet's "Olympia" painting. He chases the inscrutable Olympia with the same fervor that Langdon chases Leonardo in "The Da Vinci Code" and the same intensity that Paul Harris chases the Hypnerotomachia Poliphili in "The Rule of Four." Nehamas pursues Olympia as the moral virtue of happiness against a historical background where, "For Socrates, virtue was nothing but its own pursuit. And only the promise of happiness is happiness itself" (pg. 138). Beauty, for Nehamas, is the promise.

Modern art, as in modern Anglican philosophy, has placed "beauty" in a relegated, unimportant position. Instead, aesthetics, and objectivity, have become the marks of modern art criticism and modern philosophy (and science). Nehamas wants to restore beauty without giving transcendent features to it. He begins by posing 2 alternatives: Plato or Schopenhauer. Without agreeing with Plato all the way through the argument for the Forms and Pythagorean style objectivity, Nehamas does see in Plato an articulated expression of the power of beauty. In Plato's "Phaedrus" Nehamas sees the homosexual words of Plotinus as a muse on beauty. Nehamas connects the sexual nature of the philosophical ascent towards the form to arete (Greek word for moral virtue; but Nehamas sees the word fitting a context where the "older man was expected to provide him with the motivation and knowledge necessary for success and distinction in life" pg. 6). But Schopenhauer wants to "exclude passion and desire from the serious," according to Nehamas, who quotes Schopenhauer saying, "All amorousness is rooted in the sexual impulse alone" (pg. 8). Schopenhauer is following Kant's notion of the beautiful as what is known through contemplation or art that produces "a satisfaction without any interest" (pg. 3). And although the word aesthetics is from the Greek word "aesthesis," which means "perception," Kant's notion of a satisfaction without interest seems to separate the perceptual experience from aesthetics.
Nehamas sides with Plato against Kant and Schopenhauer. "Beauty...is part of the everyday world of purpose and desire, history and contingency, subjectivity and incompleteness" (pg. 35). As for progress in the arts, new art is not somehow closer to Truth than other art, according to Nehamas who almost likens period changes in art to Kuhnian science paradigm shifts: "No theoretical proof...will do: the only way to show that new and better art is possible is to create a work that some, at least, among its audience will at some time accept as new and better art" (pg. 40). Unlike Kant who denies interest as part of the mark of beauty, Nehamas invokes Plato again, "Our reaction to beautiful things is the urge to make them our own, which is why Plato called eros the desire to possess beauty" (pg. 55). "Beauty points to the future, and we pursue it without knowing what it will yield, and that makes it as difficult to say why we love someone as it is to say why someone else is our friend. My reasons for finding you beautiful include characteristics I feel you have not yet disclosed, features that may take me in directions I can't now foresee. Beauty inspires desires without letting me known what they are for, and a readiness to refashion what I already desire without telling me what will replace it.
When I say...that what I want is you, not anything from you, I am putting myself in your hands, assuring us both that I will be happy no matter what happens to me, if it is due to you. It is an overwhelming feeling, that sweeping sense that all will be well - and it is often wrong. Stendhal was right: beauty is only a promise of happiness" (pg. 63). We do not know what beauty will yield because beauty is "the emblem of what we lack" which "so frightened Schopenhauer instead of calming him" (pg. 76).
As far as agreement on art is concerned, "Aesthetic judgment must move away from a dogmatism that detects a difference in quality in ever divergence in taste without, at the same time, falling into a relativism that refuses to make any judgment at all" (pg. 84). Nehamas begins this difficult task by making distinctions between the value of morality, aesthetics, beauty, and style; "while the values of morality are the emblems of our commonalities, the values of aesthetics are the badges of our particularities" (pg. 86). "Universal aesthetic agreement would mark the end of aesthetics. Distinctions always denotes a necessity and, sometimes, a value" (Ibid). Thus good aesthetics carries varying styles along for the ride (Nietzsche says "To `give style' to one's character - a great and rare art!"). But since universality is the end of aesthetics, descriptions, and interpretations "depends in each case on how well we and our audience know a work of art and our purposes on that particular occasion" (pg. 123). Again, as far as interpretation is concerned, "there are no unexplained explainers" (pg. 124).
Nehamas has already written on Plato (in "The Art of Living") and Nietzsche (in Nietzsche: Life as Literature). Richard Rorty thinks that Nehamas is trying to bring Plato and Nietzsche's conception of beauty together in "Only a Promise of Happiness."

The Abuse of Beauty: The Paul Carus Lectures 21 (Paul Carus Lectures)

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Clearly out of everyday art practices among the "people"
A thoughtful study of the role of beauty in art

The Abuse of Beauty: The Paul Carus Lectures 21 (Paul Carus Lectures)
Arthur C. Danto
Manufacturer: Open Court
ProductGroup: Book
Binding: Paperback

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ASIN: 0812695402

Book Description

In The Abuse of Beauty, art critic and philosopher Arthur Danto explains how the notion of beauty as anathema to art arose and flourished and offers a new way of looking at art and beauty. He draws on the thought of artists, critics, and philosophers such as Rimbaud, Fry, Matisse, and Greenberg, to reposition beauty as one of many modes — along with sexuality, sublimity, disgust, and horror — through which the human sensibility expresses itself. 20 black-and-white illustrations are included.

Customer Reviews:

Clearly out of everyday art practices among the "people".......2004-01-19

This book is a collection of articles and essays, most of which must have been published in The Nation, for which Danto is an art critic. They cannot and will not reveal any structured and clearly defined approach of art. They are an impressionistic progress through Dantoýs own writings. But Danto ignores anything that does not go his way. He ignores Bosch who is the negation of his « beauty » definition of Renaissance art. He ignores all those who deal with « ugly » subjects, even Goya and his drawings about the horror of war and many other subjects. He ignores television and video art, directly on these media (there is one instance in this book of the use of video art in a museum presentation : that is not television and video art, that is the use of video and television technology within the museum). He even relegates video and television art in the « demotic » field, that is to say art for the people, and this approach, borrowed from Hegel, is absolutely condescendent towards the people : people can only suck on the television pacifier because they are not able to understand and enter the sphere of real art. Danto is an aristocrat, like all art critics. He thus ignores the audience of art, the people who are bombarded with artistic forms everyday in the supermarkets, in films, on TV, and in all kinds of mediatic channels. Danto is a typical university professor turned into an art critic and who advocates and illustrates the dominant vision that art is IN the artist, IN the official art circulating system, IN the criticýs analysis of it. I dream of a real republic of arts, arts FOR the people, WITH the people and BY the people. Not a submission of artists to the « uneducated » people but a constant permanent intercourse (and this implies exchange, and personal ý even sexually and emotionally motivated ý connection) between the artists and the wide audience that is bombarded with artistic productions. When I read Danto I think of what Spiro Agnew said about « ephete intellectuals ». Agnew was not a very kosher and clean character but he definitely had one point here : what is important in art is the effect it has on the widest audience possible through the various media that use artistic concepts and constructs to be effective. What I am interested in is not the self-satisfied belly-button titillation of artists or art critics but the real effect art forms have on people in general through channels that Danto does not even know, because he is totally locked up in his artistic ghetto. Itýs a shame because some of his ideas are interesting, orginal and even explosive. But he does not even know about it.

Dr Jacques COULARDEAU

A thoughtful study of the role of beauty in art.......2003-09-15

Expertly written by Arthur C. Danto (art critic of "The Nation" magazine and Emeritus Johnsonian Professor of Philosophy at Column University), The Abuse Of Beauty: Aesthetics And The Concept Of Art is an intriguing and thoughtful study of the role of beauty in art. A century ago, art strived for beauty above all; yet in the modern day, an overly beautiful work of art may even be downgraded by critics for that very reason. Individual chapters cogently address the issues of internal and external beauty in art; the intersection of beauty and politics; the beautiful and the sublime within the concept and execution of art, and a great deal more in this intellectually stimulating and enthusiastically recommended discourse as to how art is viewed within the contexts of the past, the present, and the future.

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A powerful book; reread it when you need Beauty & Justice in your life.
Good experiment
Diappointing
A Proposition Mysterious and Brave
Why Beauty goes deeper than you may like to think

On Beauty and Being Just.
Elaine Scarry
Manufacturer: Princeton University Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0691089590

Book Description

Have we become beauty-blind? For two decades or more in the humanities, various political arguments have been put forward against beauty: that it distracts us from more important issues; that it is the handmaiden of privilege; and that it masks political interests. In On Beauty and Being Just Elaine Scarry not only defends beauty from the political arguments against it but also argues that beauty does indeed press us toward a greater concern for justice. Taking inspiration from writers and thinkers as diverse as Homer, Plato, Marcel Proust, Simone Weil, and Iris Murdoch as well as her own experiences, Scarry offers up an elegant, passionate manifesto for the revival of beauty in our intellectual work as well as our homes, museums, and classrooms.

Scarry argues that our responses to beauty are perceptual events of profound significance for the individual and for society. Presenting us with a rare and exceptional opportunity to witness fairness, beauty assists us in our attention to justice. The beautiful object renders fairness, an abstract concept, concrete by making it directly available to our sensory perceptions. With its direct appeal to the senses, beauty stops us, transfixes us, fills us with a "surfeit of aliveness." In so doing, it takes the individual away from the center of his or her self-preoccupation and thus prompts a distribution of attention outward toward others and, ultimately, she contends, toward ethical fairness.

Scarry, author of the landmark The Body in Pain and one of our bravest and most creative thinkers, offers us here philosophical critique written with clarity and conviction as well as a passionate plea that we change the way we think about beauty.

Customer Reviews:

A powerful book; reread it when you need Beauty & Justice in your life........2007-02-10

As with her earlier book "The Body in Pain," reading this small, powerful book changes the way you see yourself in the world. Scarry is an extraordinary writer, linking together topics that academia separates and revealing the underlying ties that form our social life.

The resources of our country and our world are increasingly distributed unequally: a few people earn tens of millions of dollars a year and we do not have the resources to educate our children. For those interested in justice, it is easy to despair. In this book Scarry reveals that the dynamics of beauty draw the observer toward justice. And justice impels towards beauty. This is a centering, challenging book, calming the soul and attuning the senses toward justice, beauty and calm. Scarry is a beautiful architect of words, constructing understandings that sparkle. I find myself reading passages out loud to my spouse, recommending it to friends, and (having finished the book) picking it up again and again, opening it to a random page and being pleasured, reassured and changed.

Good experiment.......2007-01-11

Earlier I tried reading 'On Beauty' by Zadie Smith. That was a failure. This time I picked 'On Beauty and being just' by Elaine Scarry to know how beauty and justness are related.
I liked statements with clarity like ' Beauty brings copies of itself into being '.. Also, when the author lists why beauty brings the beholder alive with its newness, sacredness, life-saving .. one can see how for some, predominantly one of these attributes itself seems like the whole of beauty.. Some common daily-life references like the feeling that you have for luggage received late are easy to relate to.
I didnt like the arguments in trying to look at the point to be proved and its opposite. Somehow each seemed so insufficient in itself that the putting forward of the other never seemed to make things better understood.
It is quite an idea to relate beauty and justness through the abstract fairness.

Diappointing.......2006-08-27

This is certainly an impassioned defence of beauty, and a 'feel-good' book, but it is so lacking in substance is barely counts as a contribution to the debate. It's incoherent at many levels, most notably concerning the switch from the accepted idea in part one that beauty is always particular, to the claims in part two that it is a function of certain qualities, especially symmetry. Asthetic symmetry promotes ethical justice? The idea of beauty as enlivening is also too simple. This is not good enough as a theory of the link between aesthetics and ethics. The account of the so called 'political complaints' against beauty is a set of caricatures. There is also a very weak accounts of Matisse, whose Nice paintings are regarded by Scarry as stand ins for real windows and real palm trees; some sense of what modernist art has done to the concept of beauty and why is needed here. There are many better books on the topic.

A Proposition Mysterious and Brave.......2006-04-24

Though it's easy to critique Elaine Scarry's logic and the completeness of her argument, that would miss this book's true importance. As a matter of fact, what's important about On Beauty is that it stood in the face of 20 years of literary and aesthetic criticism, a howling wind into which Scarry makes a simple claim: that the appreciation of beauty presses us toward justice and not away from it. In its simplicity, Scarry's proposition is as brilliant and unprovable now as it was then. But propositions are not the truth; they stake a claim to right action, and Scarry's courageous stand has liberated artists and writers to pursue right action as it resonates with what their eyes and ears hold to be a good and true beyond logic. Scarry uses arguments and descriptions from fellow travellers as various as Homer, Simone Weil. and John Rawls. It's a tour de force ending with a vision of the trireme as the birthplace of athenian democratic values. The logic that connects that vision to the political possibiities immanent in the visual world are as profound and mysterious as any attempt to defend beauty could ever be. Somehow, Scarry manages exactly what she claims for beauty: pressing us toward the good without suspending our desire for all things pleasurable.

Why Beauty goes deeper than you may like to think.......2005-02-08

Elaine Scarry presents a beautiful, thought-provoking and in the end, not altogether convincing (but still convincing nonetheless) that beauty is connected to justice, and shouldn't be tossed out of academic circles in the name of political correctedness.

Scarry approaches the subject of beauty and the nature of beauty by first telling the world where people go wrong when it comes to aesthetics. She gets personal, yes, but she remains philosophically on the mark as long as the reader is willing to stay focussed on the central point of her entire book. Beauty is not some silly thing we humans should discard and treat as unimportant or not valuable. On the contrary, beauty is something that tells us much about ourselves and the world in which we live in so it cannot be ignored any longer! Kudos to Scarry for bringing it back into the discussion limelight.

However, having said this, my only problem philosophically with the book was the way Scarry attempted to tell readers how the idea of justice is something ingrained within human beings and found consciously in human nature yet, the idea of beauty is not. She is not equating the two as the same, yes, but she is equating the two as being interdependent and so it seemed peculiar to me that she would make such a strong case for the root of justice and act as though beauty is some autonomous thing out there by itself. A sense of justice and a sense to experience and see and seek out beauty are both things we humans possess. It's in our nature and I wish Scarry would've made that a little more clearer to the readers. If she would've done that, her argument would've been so much stronger.

Let the aesthetic discussion thrive on!

Philosophies of Art and Beauty: Selected Readings in Aesthetics from Plato to Heidegger (Phoenix Books)

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Good start, but don't stop here.
The Classics of Aesthetic Literature

Philosophies of Art and Beauty: Selected Readings in Aesthetics from Plato to Heidegger (Phoenix Books)
Albert Hofstadter , and Richard Kuhns
Manufacturer: University Of Chicago Press
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ASIN: 0226348121

Book Description

This anthology is remarkable not only for the selections themselves, among which the Schelling and the Heidegger essays were translated especially for this volume, but also for the editors' general introduction and the introductory essays for each selection, which make this volume an invaluable aid to the study of the powerful, recurrent ideas concerning art, beauty, critical method, and the nature of representation. Because this collection makes clear the ways in which the philosophy of art relates to and is part of general philosophical positions, it will be an essential sourcebook to students of philosophy, art history, and literary criticism.

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Good start, but don't stop here........2001-09-03

This is an excellent and very well done anthology. Covering the classic readings, Croce, Plato, Ficino, Salsbury, Schelling, Dewey and others. The editors take space to introduce each selection and highlight its contribution to the field of Aesthetics. The selections are fair, even those including the existentialists, such as Nietzsche and Heidegger, who make large shifts in direction in Aesthetics. Hofstadter also contributes his own translation of Heidegger's selections and Schelling's selections. These are very good in particular.

The first difficulty is that the volume fails to point to advances beyond Heidegger. No volume can contain all the imporant classical and contemporary readings, but it should
have some sort of suggested reading list for newer materials. The problems of Aesthetics that have confronted the field since the 50's and 60's are just as important as the ones of ancient and medieval European culture. The problem of interpreting pure music (no lyrics) and its aesthetic effects in especially important to this field. Even Ayn Rand, who had a quick philosophical (if often flippant or facile) remark on any facet of culture, admitted she was confounded by the act of interpreting and judging pure music.

To address this, the reader should also read or purchase Arthur Danto's volumes. In particular Danto has articulated the main problems of the field (such as the problem of making value judgements) and set the tone. Problems such as ethnocentrism and cultural relativism in Western Aesthetics also need to be investigated by serious students of this topic.

Another issue to investigate that this volume misses is the category of the "Artist," which did not exist in ancient Greece or Rome as we know it today. In fact, the category of Artist, whether bohemian or otherwise, seems to be a fairly recent invention, and has had profound consequences for Aesthetics. To investigate this more, start by reading Flauber's novel "Sentimental Education." This staple of French literary realism will help jump start you past this anthology of philosophical readings.

The Classics of Aesthetic Literature.......2000-11-09

This anthology of aesthetic texts surveys the key figures from the classic Western tradition in aesthetics beginning with Plato. Since the book's first pulbication in 1964, Hofstadter and Kuhns have been known among theoreticians, historians, and philosophers alike for this book's remarkable contribution to the field of aesthetics. In this book, one will find selections from the ancient Greeks: Plato, Aristotle, and Plotinus; to the medieval: St. Augustine; to the Neoplatonist: Ficino; to the German Idealists: Kant, Schelling, Hegel, Schopenhauer; as well as others like: Shaftesbury, Croce, Nietzsche, Dewey, and Heidegger. This motley assortment is an indisputable must for every art historian, philosopher of art, literary critic, aesthetician, theoretician, and the general scholar. I would relish the opportunity at seeing a 21st century revision of this work; perhaps professor Kuhns may consider such a project with some of his brilliant collegues at Columbia University.

Uncontrollable Beauty: Toward a New Aesthetics

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An excellent book
A refreshing antidote to the dilemna of today

Uncontrollable Beauty: Toward a New Aesthetics

Manufacturer: Allworth Press
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ASIN: 1581151969

Amazon.com

What ever happened to beauty? Since the late 1960s she seems to have been in exile. Postmodern artists traded her in for flirtations with truth, strength, and purity of form. It was then that women started stripping off their heavy makeup and Barbie doll clothing in an effort to gain equal footing with men. And men, anxious too to break some of society's molds, shed their business suits and leisurewear--then the paragons of male beauty. But as art critic Dave Hickey unwittingly predicted during the '80s, that quality--which Plato believed to be eternal and absolute--is the "issue of the '90s."

After three decades of playing wallflower because she was thought by many artists to be frivolous, easy, tired, and even shallow, beauty is dancing again. Uncontrollable Beauty is filled with exciting essays by artists, critics, curators, and philosophers whose definitions of this elusive quality are often at odds with the Platonic ideal. When beauty besets critic Peter Schjeldahl, his mind is "hyperalert," his body eases, and he is often aware of his "shoulders coming down as unconscious muscular tension lets go." Renowned sculptor Louise Bourgeois also experiences beauty as opposed to encountering it: "Beauty is a series of experiences. It is not a noun ... beauty in and of itself does not exist." Artist and coeditor Bill Beckley blames beauty's banishment on Wittgenstein--who, in a 1938 lecture at Cambridge, said that beauty is most often meant as an interjection "similar to Wow! or rubbing one's stomach"--and his undue influence on conceptual artists of the '60s and '70s. Each essay collected here is rigorous in its definition of this elusive yet powerful force in art and aesthetics. Taken together, the writings are an invigorating read for artists and viewers alike.

Book Description

In 1998, a prestigious group of artists, critics, and literati offered in a single collection their incisive reflections on the question of beauty—past, present, and future. This esteemed collection of essays, entitled Uncontrollable Beauty, provoked debates about beauty in art and culture, arousing widespread curiosity and stimulating passionate discussion that helped to usher in a new era of appreciation for beauty in art. In response to the enduring popularity and acclaim for this anthology, Allworth Press has just published a paperback edition of Uncontrollable Beauty, edited by Bill Beckley and David Shapiro.

Customer Reviews:

An excellent book.......2005-07-25

The role of beauty in contemporary art has become a hot topic and this compilation of writings and interviews presents a group of well written and well considered perspectives. I've just finished it and am re-reading many of the essays, as I consider them cogent and inspirational.

A refreshing antidote to the dilemna of today.......2001-05-02

UNCONTROLLABLE BEAUTY: Toward a New Aesthetic is easily some of the most beautiful writing I've ever encountered. Editor Beckley ( who also writes well) has selected poets, critics, painters, sculptors, philosophers to write about where we place Beauty on the scale of art importance in the past thirty years. The very fact that this issue is being addressed bodes well for those of us who have been concerned about recent past trends in art of all forms. Being ugly, controversial, in your face, violent, frivolous, mocking, sadistic has been the criteria for what gets press and thus what the public is spoon-fed as what is "in". So many of us tire of these stale and selfish agendas which don't seem to have a life much past the opening of the show that features them. But why did we get that way? Is there a possibility that we have become so overinformed as to how to see that that most sacred aspect of creativity - beauty - has become a dinosaur? Accordingly to lyrically beautiful essays the answer is a decided "No!". Almost every way of describing beauty, feeling beauty, thinking beauty, seeking beauty is given in this eloquent book. This is not always easy reading.....but there is beauty in making the effort, too. Bravo and welcome back to the age of hope!

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awesome!
A splendid book, with two glaring errors...
Evidential Power of Beauty
Ten Stars for Dubay
The Evidential Power of Beauty.

In the Midst of Chaos, Peace
Sister Wendy Beckett
Manufacturer: Ignatius Press
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ASIN: 0898707528

Customer Reviews:

awesome!.......2007-08-01

I've just began reading this book and couldn't put it down. As an artist, i think it is important to know the principles of beauty. I also watch the show of Fr. Dubay based on the book in EWTN. I recommend this book to anyone fascinated about Beauty, that ultimately points to its Divine Author. :)

A splendid book, with two glaring errors..........2007-07-26

...thus the missing two stars.

I made a private retreat at Christ in the Desert Monastery in the high desert of New Mexico, in the Santa Fe National "Forest", just recently, and found this book on the bookshelf in the common room of the guest quarters. Having read Happy Are You Poor by Dubay, and emphatically enjoying it, I decided to read it during my stay.

The books title states enough about the content, so I won't spend much time talking about the different parts. I'll just say that he philosophically talks about beauty, and the impact that it has on people, and that beauty simply cannot be accidental, as the beautiful things that we as humans make are intentional. He then spends ample time going through the minutest details of anything from stars to hummingbirds, from orchids to cells, demonstrating that each is "perfect according to its own kind."

The problem that I first noticed, was how horribly this book is punctuated. Either Dubay does not know how to use a comma, or his editor doesn't. Obviously, I don't know which it is. All I know, is that it took me longer to read this book than a typical one of comparable length would have, as I consistently read sentences, finishing them by saying, "What in the world is he trying to say?" After reading it over again, I would notice several sections of the sentence where a comma is needed, to structure the flow of the reading. If I had the book on me, I would supply a few examples, but it is nestled on a bookshelf amongst a plethora of other books at the monastery, and I am back home in Georgia.

The other mistake, is the much-too-broad stroke that he paints for rock music. He quotes at least two sources that I can recall, Frank Sinatra and Allan Bloom, stating that rock music is formless, and thus ugly. The problem with this is not that some rock music is hideous, but that he doesn't specify as to what he means when he says "rock music". Rock music, like most musical genres, is extremely broad. I have always considered jazz and blues as being a branch of rock. Surely some jazz and blues is very well structured, as Dubay even refers to some of it as being beautiful. Although much of the lyrical content of classic rock is bankrupt, much of the music is anything but unstructured, demonstrating a certain element of the classical. Again, some of it can simply be described as noise. However, the same is true of some classical music, which Dubay praises again and again in this book. Just because music has violins and pianos doesn't make it beautiful. It requires structure, something which some rock music definitely possesses. The fact of the matter, I think, is that Dubay isn't qualified to comment on rock music as a whole (and possibly not music as a whole, in general); thus, the majority of that section (pages 86-88, if I remember correctly) is quotes from others (the aforementioned Bloom and Sinatra).

Apart from these two errors, I did really enjoy the book, and find myself uplifted by it. I was also blessed to be in the barrenly beautiful desert while reading it! What a wonderfully beautiful backdrop to read a book on beauty!

So, if Dubay writes anymore books, I emphatically recommend that he either learn how to use a comma, or hire an editor who does; and, if ever again he dabbles in commenting on rock music, he needs to specify what he means by "rock music", and only comment on things which he is qualified to comment on.

Evidential Power of Beauty.......2007-01-09

Great book--doesn't completely overcome my doubts about God, but comes close. Everyone should read the chapters on the maxi, midi, and mini marvels we come in contact with every day.

Ten Stars for Dubay.......2003-12-21

I can't say enough about this book to do it real justice. Evidential Power of Beauty has not only opened my eyes, mind, and senses to creation on a deeper level, but it has intensified my hunger and wonder that is often stifled and desensitized in American pop culture. Though one reviewer commented on Dubay's "attack" on rock and roll, I don't believe it was an attack at all. Quite the opposite. Dubay simply made a point about why certain types of music produced harsh, often filthy, shallow repetitive melodies, while others, such as Mozart, produced a more complicated, pleasing piece that required the best of the mathematical beauty and design he discusses throughout the book. It was just another comparison of the beauty of complicated design versus simplistic noise. However,I can give Dubay grace in that area, as I must allow for his lack of knowledge for a band such as YES (very complicated, very beautiful pieces of music)often categorized as "rock." (Though quite a different caliber than,say,Ozzy Osbourne.)I give Dubay a break on that facet of the book.

I am not a scientist,a theologian, or a Catholic. You don't have to be to enjoy this book immensely and even learn a thing or two about something you probably never thought twice about--for example,water. Dubay takes time to explore the "givens" in our world that are so casually seen as "miraculous accidents." His marvelous prose and fire for God lights every page. The underlying push for even beginning to ponder God's mystery,awe, and love is, as Dubay quoted, the "ability to have the humility to sit at the foot of a dandelion."

The book is simply a masterful work of art, a lovely tour of how theology and science merge together at the point of Beauty. Though both disciplines have opposite starting points, they lead to many of the same conclusions about our Universe.

Buy or borrow this book, find a comfortable chair, and take your time absorbing the "evidential beauty" in this book.

The Evidential Power of Beauty........2003-08-27

The author's thesis is simply distilled and has often been an overlooked feature of the teleological argument for the existence and nature of God: not only that design is evidence of intelligence and will, but that beauty is evidence of truth. Catholic theologian Thomas Dubay illustrates the connection between beauty and truth. Physicist Richard Feynman said, "You can recognize truth by its beauty and simplicity." Einstein regarded the beauty of a physical theory as a proof superior to empirical evidence. Mathematicians have long regarded the beauty and elegance of an equation or mathematical expression as the most necessary indicator of its truth. We have come to realize that nature is ultimately mathematics, beautiful mathematics (Plato was right). Why is reality, at its core, beauty? Whether the equations that describe the deepest features of the quantum world, the fine tuning of the cosmic initial conditions, the highly specified organization of microbiological cell "cities" (we could go on and on), nature is all about beauty. What does this indicate to the uncallused observer? And what then is the evidential power of ugliness? Dubay contrasts the two contending worldviews: materialism (existence is a meaningless and ultimately absurd accident), or theism (existence is intended, meaningful), concluding that the very ugliness of absurdity is evidence of the falsity of atheism/philosophical materialism.

"... simple observation shows that people, including academics, readily welcome intellectual interventions and therefore design, when the question is free of cultural biases and does not impinge on their personal lifestyle and chosen philosophy. I find it both amusing and instructive that when scientists come upon evidence in their field (anthropology, for example) that seems to support a theory popular among their colleagues, no one hints that an apparent causal connection was due to random chance. In an archeological dig, if the investigators find a stone so chipped that it could have served as a knife, they conclude that it was deliberately made, that is, designed for that purpose by a human ancestor. Their inference may well be true, but all the same, it is enormously weaker than design in a bird's wing, and fantastically weaker than design throughout any living cell. In the latter, the case for design is overwhelming. When it is rejected, the cause must be due to personal philosophy and bias having nothing to do with science. In more plain language, the rejection has all the appearance of a materialistic dogma that no divine mind must be admitted. This is bad science because it is a position based on a personal philosophy and not on scientific data. The carefully arranged and massive blocks of stone at Stonehenge are a more detailed example of a scientific acceptance of design when such is popular. Their precise positioning is explained, most likely correctly, by the deliberate will to align them to the sunrise at the summer solstice. This likelihood seems stronger than that of the chipped stone, but it remains far, far weaker than the endless examples nature furnishes ... Yes, something less than cool, objective scientific thinking lies behind the rejection of mind behind nature."

Book Description

This book explores the role of aesthetic experience in our perception and understanding of the holy. Richard Viladesaus goal is to articulate a theology of revelation, examined in relation to three principal dimensions of the aesthetic realm: feeling and imagination; beauty (or taste); and the arts. After briefly considering ways in which theology itself can be imaginative or beautiful, Viladesau concentrates on the theological significance of aesthetic data provided by each of the three major spheres of aesthetic perception and response. Throughout the work, the underlying question is how each of these spheres serves as a source (however ambiguous) of revelation. Although he frames much of his argument in terms of Catholic theology--from the Church Fathers to Karl Rahner, Hans urs von Balthasar, Bernard Lonergan, and David Tracy--Viladesau also makes extensive use of ideas from the Protestant theologian of the arts Gerardus van der Leeuw, and draws insights from such diverse thinkers as Hans Goerg Gadamer, Wolfhart Pannenberg, and Iris Murdoch. His analysis is enlivened by the artistic examples he selects: the music of Mozart as contemplated by Karl Barth, Schoenbergs opera Moses und Aron, the sculptures of Chartres Cathedral, poems by Rilke and Michelangelo, and many others. What emerges from this study is what Viladeseau terms a transcendental theology of aesthetics. In Thomistic terms, he finds that beauty is not only a perfection but a transcendental. That is, any instance of beauty, rightly perceived and rightly understood, can be seen to imply divinely beautiful things as well. In other words, Viladesau argues, God is the absolute and necessary condition for the possibility of beauty.

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Lipovetsky: A new hegelian thought
Excellent & non-condescending look at the rise of fashion

The Empire of Fashion
Gilles Lipovetsky
Manufacturer: Princeton University Press
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ASIN: 0691033730

Book Description

In a book full of playful irony and striking insights, the controversial social philosopher Gilles Lipovetsky draws on the history of fashion to demonstrate that the modern cult of appearance and superficiality actually serves the common good. Focusing on clothing, bodily deportment, sex roles, sexual practices, and political rhetoric as forms of "fashion," Lipovetsky bounds across two thousand years of history, showing how the evolution of fashion from an upper-class privilege into a vehicle of popular expression closely follows the rise of democratic values. Whereas Tocqueville feared that mass culture would create passive citizens incapable of political reasoning, Lipovetsky argues that today's mass-produced fashion offers many choices, which in turn enable consumers to become complex individuals within a consolidated, democratically educated society.

Superficiality fosters tolerance among different groups within a society, claims Lipovetsky. To analyze fashion's role in smoothing over social conflict, he abandons class analysis in favor of an inquiry into the symbolism of everyday life and the creation of ephemeral desire. Lipovetsky examines the malaise experienced by people who, because they can fulfill so many desires, lose their sense of identity. His conclusions raise disturbing questions about personal joy and anguish in modern democracy.

Customer Reviews:

Lipovetsky: A new hegelian thought.......2002-01-12

In this book Lipovetsky makes explicit ideas that one could find in a more timid way in earlier books. The basic idea of his thought is that fragmentation of society does not, in the way it is thought commonly, mean destruction of morals or democracy. On the contrary, democracy is formed by the powers that are able to join fragmentation and continuity. This is what he shows with fashion. Fashion is from where he can understand what is "the essence" (although it isn't an essenciallist thought)of Western Culture. He uses the concept of fashion to synthetize the opposites: fragmentaed indivilualistic society and universal democratic society. As Hegel, he sees the union of both opposites through the whole reconstruction of Fashion. Not science or Reason but fashion is what explains us better what we are and why we are like that.

Excellent & non-condescending look at the rise of fashion.......1995-07-25

Unlike the stuffy American academics who turn their nose up at the world of fashion, Lipovetsky realizes the importance of fashion - not just as a result of liberalism and/or capitalism - but as a contributor to these structures. Lipovetsky basically argues that modern fashion contributes to democratization by allowing individuals more choices and also by obscuring social classes (Does Bill Gates dress signify his social or financial superiority in any way?). He also gives a pretty concise and coherent history of fashion which helps us understand where we stand today. On top of all that, it's well written. I don't know whether to thank him or Porter for that. All and all, an outstanding and entertaining rejection of the tedious, reductive Marxist explanations of fashion.

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