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This collection of essays, memoirs, poems, stories, and artwork looks at globalization as a worldwide exchange of art and ideas. Writing the World focuses on the cultural realities of globalism—the opportunities it provides to learn from other cultures. This knowledge, argue David Rothenberg and Wandee Pryor in their introduction, can be power: “When all of us learn enough about our differences to respect the diversity that exists, we will be unable to pretend we are the same. We will never accept the old innocence and ignorance bred by oppression and exploitation.” For the contributors to Writing the World, to dream of the global village is to see the world not as a vast market but as a place of shared values and linked wonder.”It is time to listen to the many literate voices the world speaks,” say Rothenberg and Pryor. The voices of Writing the World range from Arundhati Roy on the “colonization of knowledge” in her essay “The Ladies Have Feelings, So… Shall We Leave It to the Experts?” to Naomi Klein’s meditation on fences, ownership, and property. They include Bill McKibben on women farmers in Bangladesh, Hannes Westberg’s account of being shot by Swedish police at a demonstration, James Barilla on invading and indigenous plant species in “The Aliens in the Garden,” and many other vivid, compelling, and provocative writings that celebrate—and illustrate—”the poetry of cultural contact.” Artists and photographers whose work appears in the book include Adam Clayman, Jenny Matthews, Richard Robinson, and Arpita Singh.
‘…well written, clear and informative. It contains many references that demonstrate the deep knowledge of the field that the author has acquired through her own research and her remarkable work at the head of the Journal of Cultural Economics. She especially provides a very clear review of the literature on the economics of copyright…. this review will become a reference that can’t be ignored by researchers interested in copyright…Towse opens avenues for further research and also stresses those questions that can help professionals better understand cultural regulations.’ – Françoise Benhamou, Journal of Cultural Economics ‘Ruth Towse’s book provides an easily accessible introduction to this field and contains much useful argument. It also stands as testament to the productive and continuing scholarly career of one of the best known figures in contemporary cultural economics.’ – David Throsby, Journal of Economic Literature ‘This is a most interesting treatise on a very topical subject of economic and legal policy …this book offers a wealth of intriguing research ideas and some interesting, if not highly rigorous, analyses of an important area of public policy.’ – Mary Kokoski, Monthly Labor Review ‘Ruth Towse’s excellent book, Creativity, Incentive and Reward is a beacon in this confused theoretical and policy mish-mash. The book, which brings together Towse’s work in copyright and cultural economics over the last decade, is thoroughly researched, analytically satisfying and beautifully written…copyright scholars owe a debt of gratitude to Towse.’ – Fiona Macmillan, Copyright World ‘This is an important work on compensation of the artist and the incentives for artistic activity. The explosive evolution of the technology of communications raises particularly pressing issues in this arena and poses new threats to remuneration of the artist. The discussion of copyright in this book provides vital information for analysis of this issue. The book is informative, intelligent and well written – precisely what is needed for understanding of its subject.’ – William J. Baumol, New York University and Princeton University, US Creativity is crucial to the Information Age economy. It is the basis of production in the cultural industries. In this excellent book, Ruth Towse provides an analysis of the interaction between creativity, the law, and markets for cultural goods and services. Copyright law establishes property rights that create economic incentives to cultural production and Ruth Towse uses her analysis to draw conclusions about policy on copyright. This unique study is of interest to a range of disciplines in economics, law, cultural studies and management.
Conceived originally as a serious presentation of the development of philosophy for Catholic seminary students, Frederick Copleston’s nine-volumeA History Of Philosophyhas journeyed far beyond the modest purpose of its author to universal acclaim as the best history of philosophy in English. Copleston, an Oxford Jesuit of immense erudition who once tangled with A.J. Ayer in a fabled debate about the exiatenceof God and the possibility of metaphysics, knew that seminary students were fed a woefully inadequate diet of theses and proofs, and that their familiarity with most of history’s great thinkers was reduced to simplistic caricatures. Copelston sets out to redress the wrong by writing a complete history of Western philosophy, one crackling with incident and intellectual excitement – and one that gives full place to each thinker, presenting his thought in a beautifully rounded manner and showing his links to those who went before and to those who came after them.
For much of the twentieth century, philosophy and science went their separate ways. In moral philosophy, fear of the so-called naturalistic fallacy kept moral philosophers from incorporating developments in biology and psychology. Since the 1990s, however, many philosophers have drawn on recent advances in cognitive psychology, brain science, and evolutionary psychology to inform their work. This collaborative trend is especially strong in moral philosophy, and these three volumes bring together some of the most innovative work by both philosophers and psychologists in this emerging interdisciplinary field.Contributors to Volume 1:William Casebeer (Air Force Academy), Leda Cosmides (University of California, Santa Barbara), Oliver Curry (London School of Economics), Michael Dietrich (Dartmouth College), Catherine Driscoll (North Carolina State University), Susan Dwyer (University of Maryland, Baltimore County), Owen Flanagan (Duke University), Gilbert Harman (Princeton University), Richard Joyce (Australian National University Research School of Social Science), Debra Lieberman (University of Hawaii), Ron Mallon (University of Utah), John Mikhail (Georgetown Law School), Geoffrey Miller (University of New Mexico), Jesse Prinz (University of North Carolina at Chapel Hill), Peter Railton (University of Michigan), Michael Ruse (Florida State University) Hagop Sarkissian (Duke University), Walter Sinnott-Armstrong (Dartmouth College), Chandra Sekhar Sripada (University of Michigan) Valerie Tiberius (University of Minnesota), John Tooby (University of California, Santa Barbara), Peter Tse (Dartmouth College) Kathleen Wallace (Hofstra University), Arthur Wolf (Stanford University), David Wong (Duke University).
ما از اخلاق چه انتظاری داریم؟ این سوال شاید تاحدودی برای عموم مردم و یا متخصصان این رشته قابل پاسخ باشد؛ اینکه خوب بودن را به ما بیاموزد و در تنظیم روابط فردی م...
جشن کتاب تهران به ایستگاه سی و یکم رسیده است. حال و احوال نشر کتاب خوب نیست و باید فرهنگدوستان را به خرید و هدیه دادن کتاب ترغیب نمود. خانه اخلاقپژوهان جوان ب...
بنیاد کتابهای اخلاق اسلامی عمدتا پالایش جان از آلودگیها و آراستن آن به زیباییها است. اندیشه محوری این قبیل کتابها آن است که انسان فعلی آنی نیست که باید باشد...
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