A Distant View
Julia Friedman
Svetlana Alpers’s value judgments show her colors as a critic, although formally her métier in the late 1970s was still that of the art historian.
Svetlana Alpers’s value judgments show her colors as a critic, although formally her métier in the late 1970s was still that of the art historian.
One must translate the work, not the words on the page. They are not the same.
Part of the political bizarreness of our time comes from the fact that the possibility of data’s neutrality is rarely disputed as such.
The normative appeal of the new gerontology to individual autonomy and responsibility makes it even clearer that “failure” is precisely what is at stake.
To begin a sentence is to launch into the void and syntax plays a large role in how you will land.
On the face of it, Simone Weil is a remarkably poor candidate for domestication.
How are we ethically to evaluate the practice of getting stoned?