Here are 100 books that The Sight of Death fans have personally recommended if you like
The Sight of Death.
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When students ask me: ‘Do you never get bored with a film after you have analyzed it thoroughly?’ my usual reply is: ‘Either the film is not as good as you have assumed, or your analysis is not succinctly enough’. The books I recommend have all, in their own ways, taught me how and why I love the movies as I do. (Film) theory ideally functions as a stepping-stone to cinephilia, and the best way to ensure that a love for cinema will grow is to develop an attention to details, idiosyncratic shot transitions, focus (or out-of-focus), striking performances, un-heard camera movements (or the choice of a static shot).
First remarkable fact: This was written by a philosopher. Second remarkable fact: the study was published at a time when film studies had a strong political orientation, and therefore Cavell’s book was an odd one out, for it had a ‘light-hearted’ subject: seven screwball comedies, made between 1934 and 1949. Its relevance has only been acknowledged in retrospect.
Cavell’s style is colloquial and his aim was to set up a ‘dialogue’ with the films. Even though I am less enamored with his philosophical interventions, this work helped me to truly appreciate all seven ‘comedies of remarriage’ he had selected, and The Awful Truth (Leo McCarey, 1937) in particular has remained one of my all-time favorites ever since. Any analysis that encourages us to love a movie under discussion is worth recommending.
During the '30s and '40s, Hollywood produced a genre of madcap comedies that emphasized reuniting the central couple after divorce or separation. Their female protagonists were strong, independent, and sophisticated. Here, Stanley Cavell names this new genre of American film-"the comedy of remarriage"-and examines seven classic movies for their cinematic techniques and for such varied themes as feminism, liberty, and interdependence.
Included are Adam's Rib, The Awful Truth, Bringing Up Baby, His Girl Friday, It Happened One Night, The Lady Eve, and The Philadelphia Story.
The dragons of Yuro have been hunted to extinction.
On a small, isolated island, in a reclusive forest, lives bandit leader Marani and her brother Jacks. With their outlaw band they rob from the rich to feed themselves, raiding carriages and dodging the occasional vindictive…
Poems irritated me as a child. They seemed parodies of counting, chants of rhythm, and repetition. I included them in my moratorium against reading fiction. On the other hand, I respected the alphabet, a kind of poem of pure form. It was orderly for no good reason and didn't mean anything. So I concluded that poems were meaningless forms that had their uses, but were not serious. I changed my mind, but it took a while—studying math and science, theology, and then philosophy and literature. I'm now a professor who studies and teaches modern literature and philosophy. I got my Ph.D. from Harvard, became a professor at Stanford, and teach at the University of Dallas.
A photograph gives me the form of the bird, but it remains up to me to see the bird as a bird. And that can be difficult. What do we see when we see a bird?
The Peregrine, J. A. Baker’s masterpiece of descriptive prose, provides an answer, an answer that is as much about how we see as it is about what we see when we see birds. Sometimes we pull ourselves into the sight of others and the world emerges as more than its light. We see by being seen.
Baker achieves this kind of seeing both in his efforts to see a pair of peregrines and in his description of this achievement.
David Attenborough reads J. A. Baker's extraordinary classic of British nature writing.
The nation's greatest voice, David Attenborough, reads J. A. Baker's extraordinary classic of British nature writing, The Peregrine.
J. A. Baker's classic of British nature writing was first published in 1967. Greeted with acclaim, it went on to win the Duff Cooper Prize, the pre-eminent literary prize of the time. Luminaries such as Ted Hughes, Barry Lopez and Andrew Motion have cited it as one of the most important books in twentieth-century nature writing.
Despite the association of peregrines with the wild, outer reaches of the British Isles,…
Poems irritated me as a child. They seemed parodies of counting, chants of rhythm, and repetition. I included them in my moratorium against reading fiction. On the other hand, I respected the alphabet, a kind of poem of pure form. It was orderly for no good reason and didn't mean anything. So I concluded that poems were meaningless forms that had their uses, but were not serious. I changed my mind, but it took a while—studying math and science, theology, and then philosophy and literature. I'm now a professor who studies and teaches modern literature and philosophy. I got my Ph.D. from Harvard, became a professor at Stanford, and teach at the University of Dallas.
Events that happen to us can damn us or liberate us. We will not always know which.
Stories can help show these events and their consequences, even if they might not give them any real or acceptable meaning. But our descriptions of these events can help us see our life amidst the powers of the events. Heda Margolius Kovaly offers an admirable and brilliant example in her memoir Under a Cruel Star.
The memoir is a remarkable achievement of clarity, focus, and wisdom. Her life is more than that.
Heda Margolius Kovaly's memoir of the crisis of modern Czech history recounts the tragedies and terrors in the life of a young Jewish woman, beginning with the Nazi invasion and her deportation to Auschwitz. She eventually returned to Prague, where she took part in the May 1945 uprising.
The postwar years brought hardship and fears of a new kind under Stalinism. She poignantly recounts the arrest of her husband, his conviction in the infamous 1952 Slansky trial, and his execution. Kovaly proceeds to fill in the colorless years that marked Czechoslovakia until 1968, ending on the bittersweet note that was…
When Annie Thornton, midwife and apprentice witch, falls through time to a 15th-century Yorkshire village with her telepathic cat, Rosamund, she befriends Will and Jack, two soldiers returning from the French Wars. Mistress Meg, Annie’s ancestral aunt living in the 15th century, is…
Poems irritated me as a child. They seemed parodies of counting, chants of rhythm, and repetition. I included them in my moratorium against reading fiction. On the other hand, I respected the alphabet, a kind of poem of pure form. It was orderly for no good reason and didn't mean anything. So I concluded that poems were meaningless forms that had their uses, but were not serious. I changed my mind, but it took a while—studying math and science, theology, and then philosophy and literature. I'm now a professor who studies and teaches modern literature and philosophy. I got my Ph.D. from Harvard, became a professor at Stanford, and teach at the University of Dallas.
I could suggest any number of poems and poets of our everyday fate of being lost and found. But for me the modern poet who best integrates the eye seeing with the mind questioning is the great A.R. Ammons.
I have listed just Volume 1 of his collected poems, but I also recommend Volume 2. He writes out of a consciousness that poems are found and shaped out of a life of observation, effort, and passion.
A.R. Ammons produced some of the twentieth century's most innovative and enduring poetry, collected here for the first time in its entirety. Volume I follows Ammons's development through his National Book Award-winning Collected Poems 1951-1971 and his daring work of the 1970s. The second volume rounds out Ammons's rich middle phase and startling later work, including the posthumously published Bosh and Flapdoodle.
The Complete Poems of A.R. Ammons offers authoritative texts of every published poem and includes over one hundred previously uncollected poems by "unquestionably among the best-loved poets of our time" (David Lehman).
I have always enjoyed looking at art, and love it when I can help others to enjoy it too. Curators and academics are incredibly knowledgeable, but sometimes theory gets in the way, and academic precision can lead to turgid texts. I’d rather write in a way that is as simple as possible – without being condescending – and so help people to understand art more fully. That’s why I love it when exhibitions bring art together in new ways, encouraging us to look afresh at familiar images, or startling us with something we haven’t seen before.
It’s hard to love every artist – we all have different tastes – and I have always had problems with the apparently dry and academic art of Nicolas Poussin. That is, until I saw the exhibition Poussin and the Dance. Not only does it show a more relaxed side to this apparently reserved man, reveling in the fluidity and intimacy of movement, but as an exhibition it was perfectly formed. Every object, whether painting, drawing, sculpture, or vase, had a reason to be there, and each was informed by its presence with the others: a true conversation between artworks that you could enjoy and from which you could learn. And of course, the clarity of the minds which brought these exhibits together is also evident in the writing of the catalogue.
Richly illustrated and engagingly written, this publication examines how the pioneer of French classicism brought dance to bear on every aspect of his artistic production.
Scenes of tripping maenads and skipping maidens, Nicolas Poussin’s dancing pictures, painted in the 1620s and 1630s, helped him formulate a new style. This style would make him the model for three centuries of artists in the French classical tradition, from Jacques-Louis David and Edgar Degas to Paul Cézanne and Pablo Picasso.
Poussin and the Dance, the first published study devoted to this theme, situates the artist in seventeenth-century Rome, a city rich with the…
Even the purest of artists thrive under tension. For some artists, politics has provided a crucial source of tension which has led to great achievement. Usually, it doesn’t. Why? Because artists, like critics, are often poor at gauging political realities. (Artists are usually better off not getting involved with “ideological confusion and violence,” as Greenberg put it.) Occasionally, though, problems become so acute that being unserious about the world is not an option—the 1930s was like this for some, and maybe a second Trump presidency will have a similar effect on artists and critics today, although there is real room for doubt.
If Brecht is my nature, so are Cézanne’s paintings. Clark understands Cézanne better than anyone else (and there is a vast literature on Cézanne). Was Cézanne a “political” artist? Clark shows that Cézanne—the pillar of modern art—thought seriously about painting his world. And his world was changing, mostly for the worse.
Part of that change involved two-dimensional pictures (literally and figuratively) altering our environment. Cézanne takes the flattening of experience as his subject; that’s Clark’s point—and we’ll never see Cézanne the same way again.
A penetrating analysis of the work of one of the most influential painters in the history of modern art by one of the world's most respected art historians.
For more than a century the art of Paul Cezanne was held to hold the key to modernity. His painting was a touchstone for Samuel Beckett as much as Henri Matisse. Rilke revered him deeply, as did Picasso. If we lost touch with his sense of life, they thought, we lost an essential element in our self-understanding.
Chasing Light is a lyrical meditation on grief, memory, and the fragile beauty of everyday life. At its core, it is a story of resilience, forgiveness, and the transformational power of human connection. It sheds light on the overlooked realities of homelessness and addiction, while emphasizing the importance of compassion…
Since I was a teenager, I have thought about the connection between reason and ethics. This preoccupation was present during my formal education (A.B. and A.M., University of Chicago; J.D., Cleveland State University), during my three decades as a practicing lawyer, and, finally, as an independent philosopher during more than a decade of retirement from law practice. My book Reason and Human Ethics is the culmination of my reflection about this philosophical issue. The books I have recommended have been among those references that have been most helpful to me in formulating my own conclusions, though my own views are not identical with those of any other writing.
Phillipa Foot (1920–2010) was one of the founders of the neo-Aristotelian school called “virtue ethics.” In her book Natural Goodness, Foot argues that the is-ought (fact-value) dichotomy of modern philosophy is inapplicable to biological entities, because the “is” of living beings necessarily involves the “ought” of goal-directed (teleological) behavior. This is especially true of human beings, who possess reason as a guide to moral action. Foot rejects the view of many modern thinkers that ethics is only about one’s duties to others. She reinstates the Aristotelian concept that ethics also involves such self-regarding virtues as moderation and wisdom. I agree with Foot’s basic principles, though not necessarily with all the details of her applications.
Philippa Foot has for many years been one of the most distinctive and influential thinkers in moral philosophy. Long dissatisfied with the moral theories of her contemporaries, she has gradually evolved a theory of her own that is radically opposed not only to emotivism and prescriptivism but also to the whole subjectivist, anti-naturalist movement deriving from David Hume. Dissatisfied also with both Kantian and utilitarian ethics, she claims to have isolated a special form of evaluation that predicates goodness and defect only to living things considered as such: she finds this form of evaluation in moral judgements. Her vivid discussion…
I have immersed myself in the study of seventeenth-century philosophy for almost forty years. Over that time, I have become particularly devoted to Spinoza. This is because, first, I think he got it all pretty much right; his views on religion, on human nature, and especially on what it is to lead a good life have always struck me as correct and relevant. You can be a Spinozist today, three and a half centuries after his death, and it would make perfect sense. Second, Spinoza is endlessly fascinating. I find that every time I read him⎯and I’ve been reading and re-reading him for a long time now⎯it gets more difficult. Just when you think you know him, there are always new questions that arise and new puzzles to solve.
This is another important contribution to our understanding of Spinoza as a moral philosopher. It is a denser read than the first three books, but fascinating nonetheless for those already with a little Spinoza under their belt. Rather than concentrating on just the latter parts of the Ethics, where most scholars interested in Spinoza’s moral philosophy focus and where we find the mature discussion of the “free person” who lives under the “guidance of reason”, Sangiacomo is especially concerned with the evolution of Spinoza’s moral thought from his earliest writings to his final, uncompleted work. He considers tensions within, and pressures upon, Spinoza’s understanding of the “Supreme Good” and how to achieve it, and the changes that that account consequently undergoes. Sangiacomo’s thesis is thus both historical and philosophical.
Spinoza's thought is at the centre of an ever growing interest. Spinoza's moral philosophy, in particular, points to a radical way of understanding how human beings can become free and enjoy supreme happiness. And yet, there is still much disagreement about how exactly Spinoza's recipe is supposed to work. For long time, Spinoza has been presented as an arch rationalist who would identify in the purely intellectual cultivation of reason the key for ethical progress. Andrea Sangiacomo offers a new understanding of Spinoza's project, by showing how he himself struggled during his career to develop a moral philosophy that could…
I’m a philosopher who has spent much of the past 30 years writing about Adam Smith—widely considered one of the first theorists of empathy. One consequence of spending all that time on Smith is that I came to see how much empathy infused even his work on economics (he is for one thing the first theorist ever to write empathetically about the lives of the poor). I’ve become as a result something of a crusader on behalf of the importance of bringing empathy into social science and policy-making today. Understanding people’s perspectives from within is essential to figuring out who they are and what they need.
This is one of the most imaginative, exciting, and accessible books of philosophy to appear in the past 25 years. Not all of it is about empathy, but one especially terrific chapter is. Fricker argues that we do people a “hermeneutical injustice” when our language and concepts leave no room for a ready way of understanding their experience (her example is how people responded to women who were sexually pressured in the workplace, before the phrase "sexual harrassment" was coined). And the cure for this problem, she says, is empathy: opening ourselves to the person telling us about their experience, and trying to feel our way into how they understood it, even if we are initially baffled by it.
In this exploration of new territory between ethics and epistemology, Miranda Fricker argues that there is a distinctively epistemic type of injustice, in which someone is wronged specifically in their capacity as a knower. Justice is one of the oldest and most central themes in philosophy, but in order to reveal the ethical dimension of our epistemic practices the focus must shift to injustice. Fricker adjusts the philosophical lens so that we see through to the negative space that is epistemic injustice.
The book explores two different types of epistemic injustice, each driven by a form of prejudice, and from…
Portrait of an Artist as a Young Woman
by
Alexis Krasilovsky,
Kate from Jules et Jim meets I Love Dick.
A young woman filmmaker’s journey of self-discovery, set against a backdrop of the sexual liberation movement of the 1970s and 1980s. In Portrait of an Artist as a Young Woman, we follow Ana Fried as she faces the ultimate…
I discovered philosophy while still in high school and was lucky to study with some of the most exciting philosophers of the twentieth century in college and graduate school. I then taught philosophy in several of America’s great universities for fifty years myself. I have been fascinated by the philosophy of Kant since my first year of college and I gradually came to see Kant’s theory of the value of freedom as the core of his philosophy and a reason to devote a lifetime to studying it. I hope you will find these books as illuminating and rewarding as I have.
In the first two sections of Groundwork, Kant derives his great idea that humanity must always be treated as an end and never merely as a means from both common-sense and more abstract philosophy. These are the most inspirational pages in all of modern philosophy.
There are many translations of Kant’s book, but in the Cambridge University Press volume of Kant, Practical Philosophy (1996), one can also read Kant’s application of his basic idea to personal and political morality. He remains a valuable guide even in our troubled times.
Now in a new, affordable edition with updated notes, a superbly readable translation of Kant's classic work
This work, one of the most important texts in the history of ethics, presents Immanuel Kant's conception of moral self-government based on pure reason. It has been a source of controversy and an object of reinterpretation for over two centuries. This new edition of Kant's work provides a fresh translation that is uniquely faithful to the German original and more fully annotated than any previous translation. The editor and translator, Allen Wood, has written a new introduction.
