| Preface |
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xv | |
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PART I Exploring the Humanities |
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1 | (76) |
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The Humanities: Still Vital |
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3 | (18) |
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3 | (1) |
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4 | (2) |
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6 | (10) |
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7 | (3) |
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10 | (1) |
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10 | (3) |
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13 | (2) |
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15 | (1) |
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Becoming an Infinite Person |
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16 | (2) |
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18 | (1) |
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Topics for Writing and Discussion |
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19 | (2) |
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Profile of the Critical Thinker |
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21 | (22) |
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21 | (1) |
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Apollonian and Dionysian Responses to the Humanties |
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22 | (6) |
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24 | (1) |
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25 | (1) |
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When a Purely Emotional Response is Appropriate |
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26 | (1) |
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The Importance of Responding Critically |
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27 | (1) |
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28 | (4) |
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28 | (1) |
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29 | (1) |
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30 | (2) |
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32 | (6) |
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How the Professional Critic Responds |
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32 | (3) |
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The Personal Critical Response |
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35 | (3) |
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Literalists and Figuratists |
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38 | (3) |
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39 | (1) |
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39 | (2) |
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41 | (1) |
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Topics for Writing and Discussion |
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41 | (2) |
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Myth and the Origin of the Humanities |
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43 | (34) |
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43 | (1) |
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44 | (12) |
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45 | (4) |
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49 | (1) |
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50 | (1) |
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50 | (1) |
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51 | (1) |
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52 | (1) |
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53 | (1) |
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54 | (1) |
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55 | (1) |
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56 | (8) |
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57 | (1) |
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58 | (3) |
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61 | (2) |
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63 | (1) |
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64 | (3) |
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65 | (1) |
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The Importance of Being Attractive and Rich |
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65 | (1) |
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66 | (1) |
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66 | (1) |
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67 | (4) |
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68 | (3) |
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How Myths Influence the Humanities |
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71 | (3) |
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74 | (1) |
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Topics for Writing and Discussion |
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74 | (3) |
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PART II Disciplines of the Humanities |
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77 | (272) |
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79 | (38) |
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79 | (1) |
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80 | (5) |
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The Basic Literary Impulse: Identity |
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80 | (1) |
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The First Epic: Gilgamesh |
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81 | (1) |
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An Early Masterpiece: Homer's Iliad |
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81 | (4) |
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85 | (19) |
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85 | (1) |
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86 | (5) |
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91 | (1) |
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92 | (1) |
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93 | (1) |
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Simple Forms, Profound Meaning: William Blake |
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94 | (2) |
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96 | (2) |
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Beginnings of Modernism: Emily Dickinson |
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98 | (1) |
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Poetry of the Harlem Renaissance |
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99 | (1) |
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100 | (4) |
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104 | (10) |
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105 | (1) |
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106 | (2) |
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108 | (2) |
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110 | (1) |
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110 | (1) |
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111 | (1) |
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A Master of Style and Meaning |
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111 | (3) |
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114 | (1) |
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Topics for Writing and Discussion |
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114 | (3) |
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117 | (56) |
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117 | (1) |
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118 | (4) |
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121 | (1) |
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122 | (1) |
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Creating Likeness in Different Styles |
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122 | (18) |
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123 | (4) |
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127 | (2) |
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129 | (1) |
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130 | (2) |
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132 | (3) |
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135 | (2) |
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137 | (1) |
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Two Women of the Post-Renaissance |
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138 | (1) |
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Rembrandt: The Perfection of Likeness |
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139 | (1) |
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A Rebellion against Perfect Likeness |
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140 | (7) |
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140 | (2) |
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142 | (2) |
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144 | (1) |
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145 | (2) |
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147 | (16) |
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The Sixty-ninth Regiment Armory Show, 1913 |
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148 | (2) |
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Cubism: Picasso and Braque |
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150 | (3) |
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153 | (5) |
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158 | (1) |
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159 | (1) |
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160 | (2) |
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162 | (1) |
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163 | (7) |
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164 | (1) |
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164 | (6) |
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170 | (1) |
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Topics for Writing and Discussion |
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171 | (2) |
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173 | (40) |
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173 | (1) |
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The Basic Elements of Music |
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174 | (9) |
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174 | (1) |
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175 | (1) |
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176 | (2) |
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178 | (2) |
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Harmony and the Orchestra |
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180 | (2) |
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182 | (1) |
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The Varieties of Musical Experience |
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183 | (27) |
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183 | (3) |
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186 | (3) |
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189 | (1) |
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190 | (5) |
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195 | (1) |
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196 | (1) |
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197 | (3) |
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200 | (1) |
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201 | (1) |
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202 | (4) |
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206 | (1) |
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207 | (1) |
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208 | (2) |
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210 | (1) |
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Topics for Writing and Discussion |
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211 | (2) |
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213 | (48) |
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213 | (1) |
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Conventions of the Theater |
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213 | (15) |
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The Classical Theater of Greece and Rome |
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214 | (1) |
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215 | (5) |
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220 | (2) |
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222 | (3) |
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225 | (3) |
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228 | (8) |
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228 | (3) |
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231 | (1) |
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The Recognition Scene in Shakespeare |
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232 | (1) |
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233 | (1) |
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233 | (2) |
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Melodrama and Tragedy: A Contrast |
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235 | (1) |
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236 | (7) |
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237 | (2) |
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239 | (1) |
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240 | (1) |
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241 | (2) |
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243 | (3) |
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243 | (2) |
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245 | (1) |
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246 | (3) |
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246 | (2) |
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248 | (1) |
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A Theatrical Century of Dynamic Change |
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249 | (5) |
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The Modern Theater of Ideas |
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249 | (2) |
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251 | (1) |
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252 | (1) |
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253 | (1) |
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254 | (4) |
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258 | (1) |
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Topics for Writing and Discussion |
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259 | (2) |
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The Musical Stage: Opera, Music Drama, Dance |
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261 | (38) |
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261 | (1) |
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Baroque, Classical, and Romantic Opera |
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262 | (9) |
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262 | (2) |
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264 | (1) |
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264 | (3) |
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267 | (2) |
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269 | (2) |
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Modern Opera and Operetta |
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271 | (5) |
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271 | (1) |
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272 | (1) |
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273 | (1) |
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Other Modern Operas of Note |
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274 | (2) |
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276 | (9) |
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277 | (1) |
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278 | (2) |
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280 | (1) |
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281 | (1) |
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282 | (2) |
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284 | (1) |
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285 | (11) |
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287 | (1) |
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287 | (1) |
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Russian Ballet: Tchaikovsky and Diaghilev |
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288 | (1) |
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289 | (5) |
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294 | (2) |
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296 | (1) |
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Topics for Writing and Discussion |
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297 | (2) |
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299 | (50) |
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299 | (1) |
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299 | (4) |
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303 | (3) |
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304 | (1) |
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304 | (2) |
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306 | (21) |
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Slapstick Comedy: Sennett and Chaplin |
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306 | (2) |
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308 | (1) |
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Enduring Appeal of the Animated Film |
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309 | (1) |
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309 | (2) |
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311 | (5) |
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316 | (1) |
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317 | (3) |
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Horrow and Suspense Films |
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320 | (1) |
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320 | (3) |
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Documentaries and Docudramas |
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323 | (1) |
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324 | (2) |
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Loosely Based on the Original: Film Adaptations |
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326 | (1) |
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Two American Film Classics |
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327 | (6) |
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327 | (3) |
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330 | (3) |
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333 | (12) |
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333 | (2) |
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335 | (1) |
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336 | (2) |
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338 | (1) |
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339 | (2) |
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341 | (1) |
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342 | (1) |
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343 | (2) |
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Notes on Critical Viewing |
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345 | (1) |
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346 | (1) |
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Topics for Writing and Discussion |
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347 | (2) |
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PART III Themes of the Humanities |
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349 | (242) |
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351 | (42) |
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351 | (1) |
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352 | (6) |
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352 | (1) |
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353 | (3) |
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Greek and Roman Polytheism |
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356 | (1) |
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Native American Religions |
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356 | (2) |
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Belief in an Impersonal Divinity |
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358 | (10) |
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How Hinduism Led to Buddhism |
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358 | (1) |
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359 | (4) |
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363 | (3) |
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366 | (1) |
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Aristotle's Unmoved Mover |
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367 | (1) |
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368 | (13) |
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368 | (4) |
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372 | (3) |
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Good, Evil, and Augustine |
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375 | (2) |
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377 | (1) |
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378 | (2) |
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The Protestant Reformation |
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380 | (1) |
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The Questioning of Belief |
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381 | (4) |
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381 | (1) |
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382 | (2) |
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384 | (1) |
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385 | (4) |
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389 | (1) |
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Topics for Writing and Discussion |
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390 | (3) |
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393 | (38) |
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393 | (1) |
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How We Arrive at Moral Decisions |
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394 | (3) |
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394 | (1) |
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395 | (2) |
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The Morality of Self-interest |
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397 | (11) |
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397 | (4) |
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Enlightened Self-Interest |
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401 | (2) |
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Economics and Self-Interest |
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403 | (2) |
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Transcending Self-Interest: Altruism |
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405 | (3) |
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408 | (14) |
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A Philosophical Defense of Altruism |
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408 | (1) |
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The Moral Mathematics of Jeremy Bentham |
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409 | (3) |
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Utilitarianism Modified: John Stuart Mill |
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412 | (2) |
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The Moral Imperative of Immanuel Kant |
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414 | (2) |
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416 | (3) |
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419 | (3) |
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422 | (6) |
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422 | (3) |
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425 | (3) |
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428 | (1) |
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Topics for Writing and Discussion |
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428 | (3) |
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431 | (30) |
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431 | (1) |
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Hedonism: Happiness as Pleasure |
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432 | (4) |
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435 | (1) |
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435 | (1) |
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Epicureanism: Happiness is Avoding Pain |
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436 | (5) |
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437 | (2) |
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Epicureanism Reconsidered |
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439 | (2) |
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Stoicism: Happiness as a Strategy for Survival |
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441 | (4) |
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441 | (2) |
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443 | (2) |
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Aristotelianism: Happiness as the Quality of a Whole Lifetime |
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445 | (3) |
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Pleasure a Limited Goal; Happiness a Complete Goal |
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445 | (2) |
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Providing Happiness: A Government's Responsibility? |
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447 | (1) |
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447 | (1) |
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The Humanities and Unhappiness |
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448 | (2) |
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450 | (3) |
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Eastern Philosophy of Happiness |
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453 | (5) |
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453 | (2) |
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Buddhist Paths to Happiness: Hinayana and Mahayana |
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455 | (1) |
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456 | (2) |
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458 | (1) |
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Topics for Writing and Discussion |
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458 | (3) |
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461 | (34) |
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461 | (1) |
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461 | (1) |
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462 | (15) |
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467 | (2) |
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469 | (5) |
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474 | (3) |
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477 | (8) |
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479 | (1) |
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479 | (3) |
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482 | (1) |
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483 | (2) |
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485 | (6) |
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485 | (2) |
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New Versions and Continued Misgivings |
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487 | (1) |
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Love in a Time of Health Hazards |
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488 | (1) |
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489 | (1) |
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Imagining a World in Which Only Sex Exists |
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490 | (1) |
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491 | (1) |
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Topics for Writing and Discussion |
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492 | (3) |
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Death and Life-Affirmation |
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495 | (34) |
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495 | (1) |
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496 | (16) |
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Death in the Popular Arts |
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496 | (3) |
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499 | (1) |
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Magnifying and Beautifying Death |
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499 | (2) |
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The Medicalization of Death |
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501 | (1) |
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502 | (3) |
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505 | (1) |
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506 | (2) |
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508 | (2) |
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510 | (2) |
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512 | (5) |
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512 | (1) |
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513 | (3) |
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516 | (1) |
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Models of Life-Affirmation |
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517 | (10) |
