Bear Necessity

A “refreshing,” (Kirkus Reviews) unpretentious, and uplifting story about a father and son reconnecting and finding happiness in the most unlikely circumstances—for fans of Nick Hornby and The Rosie Project. Danny’s life is falling apart. His eleven-year-old son, Will, hasn’t spoken since the death of his mother in a car crash a year earlier, and Danny has just been fired from his construction job. He’s behind on the rent and his nasty landlord is threatening to break his legs if he doesn’t pay soon. Danny needs money, and fast. After observing street performers in a local park, Danny spends his last few dollars on a tattered panda costume, impulsively deciding to become a dancing bear. While performing one day, Danny spots his son being taunted by a group of older boys. Danny chases them off, and Will opens up for the first time since his mom died, unaware that the man in the panda costume is his father. Afraid of disclosing his true identity, Danny comforts his son. But will Danny lose Will’s trust once he reveals who he is? And will he be able to dance his way out of despair? Filled with a delightful cast of characters, Bear Necessity is “a moving, sensitive story that is also very funny, and a perfect literary antidote to anxious, troubled times” (Shelf Awareness).

"Danny's life is falling apart. He's become a single father to eleven-year-old Will--who hasn't spoken since the death of his mother in a car crash a year earlier--and Danny has just been fired from his construction job. To make matters worse, he's behind on the rent and his nasty landlord is threatening to break his legs if he doesn't pay soon. Danny needs money, and fast. After observing local street performers in a nearby park, Danny spends his last few dollars on a tattered panda costume, impulsively deciding to become a dancing bear."--

Nietzsche claimed to be a philosopher of the future, but he was appropriated as a philosopher of Nazism. His work inspired a long study by Martin Heidegger and essays by a host of lesser disciples attached to the Third Reich. In 1935, however, Karl Jaspers set out to "marshall against the National Socialists the world of thought of the man they had proclaimed as their own philosopher." The year after Nietzsche was published, Jaspers was discharged from his professorship at Heidelberg University by order of the Nazi leadership. Unlike the ideologues, Jaspers does not selectively cite Nietzsche's work to reinforce already held opinions. Instead, he presents Nietzsche as a complex, wide-ranging philosopher - extraordinary not only because he foresaw all the monstrosities of the twentieth century but also because he saw through them.

Thinking of Necessity: A Kantian Account of Modal Thought and Modal Metaphysics sets out a Kant-inspired theory of modality, i.e., possibility and necessity. The theory is driven by a methodology which takes seriously questions about the function of modal judgment, i.e., the role or purpose of judgments of possibility and necessity, as a guide to a metaphysics of modality. Kant is a good example for how to develop this methodological approach since, for Kant, modal concepts play an important role in our capacity for thought and experience of the world. The book argues that we need logical modal concepts as a condition on our ability to think, and metaphysical modal concepts as a condition on our ability to think objectively, i.e., to think about the world. Concordant with this, it argues that logical necessity has its source in the laws of thought and that metaphysical necessity is relative to conditions on objective thought. This account of metaphysical necessity, which is termed "Modal Transcendentalism", is then further developed, covering questions concerning necessary and contingent existence, de re necessity, essentialism, and modal epistemology. The theory of modality developed in the book is inspired by aspects of Kant's writings on modality, but the development and defence of the theory is undertaken mostly independently of Kant.

This authoritative and accessible book explains the argument and strategy of Kant's analysis of beauty. A number of issues are discussed - amongst them the distinction and relation between natural beauty and fine art, pure and dependent beauty, disinterestedness and universality, form and expression, beauty and morality, transcendental and empirical necessity, individual and community. Links are also forged between Kant's theory and contemporary commentaries - including those by Donald Crawford, Jacques Derrida, Paul Guyer, Rudolph Makkreel, Mary McCloskey, Kenneth Rogerson and John Zammito.

In everyday reasoning - just as in science and art - knowledge is acquired more by "doing" than with long analyses. What do we "do" when we discover something new? How can we define and explore the pattern of this reasoning, traditionally called "synthetic"? Following in the steps of classic pragmatists, especially C.S. Pierce, Giovanni Maddalena's Philosophy of Gesture revolutionizes the pattern of synthesis through the ideas of change and continuity and proposes "gesture" as a new tool for synthesis. Defining gesture as an action with a beginning and an end that carries on a meaning, Maddalena explains that it is a dense blending of all kinds of phenomena - feelings and vague ideas, actual actions, habits of actions - and of signs - icons, indexes, and symbols. When the blending of phenomena and signs is densest, the gesture is "complete," and its power of introducing something new in knowledge is at its highest level. Examples of complete gestures are religious liturgies, public and private rites, public and private actions that establish an identity, artistic performances, and hypothesizing experiments. A departure from a traditional Kantian framework for understanding the nature and function of reason, The Philosophy of Gesture proposes an approach that is more attuned with our ordinary way of reasoning and of apprehending new knowledge.

Do our lives have purpose? Despite the rise of secularism, we are still confronted by a sense of meaning and direction in the events of history and our own lives - something which is beyond us and not our own creation/imagination. Using the novels of Thomas Hardy and Julian Barnes, Vernon White tracks this belief in intellectual history and tests its resilience in modern literature. Both novelists portray modern and late-modern scenarios where, although the idea of an objective purpose has been deconstructed, it still haunts the protagonists. Using literature as the starting point, the discussion moves on to an exploration of this belief in its theological form, through the doctrine of providence. White critically reviews the classic canon of providence and its pressure points - the problems in divine causality, the metaphysical assumptions required in its acceptance, and the contradictions to be found between God's purpose and the metanarratives of history. Using Barth and Frei, White suggests new ways of re-imagining divine providence to take account of these issues. The credibility of this re-defined providence is then tested against scripture, experience and praxis, with the result being an understanding of providence that does not rely on empirical progress.