C Zanne S Doubt

This book is an attempt to show Merleau-Ponty's phenomenology as a critique on the doubt of the thought that enables the infinity of perception. The book seeks to illustrate how Cézanne's unique color modulations both remove the necessity of the line and Cézanne's doubt of himself, unlike Descartes' cognito. With illustrations it explains how the infinity of perception is what creates our world of surfaces, but science claims as an illusion.

A selection of speeches and essays from the author's second decade as president of Yale University.

This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. Jewish and early Christian authors discussed Abraham in numerous and diverse ways, adapting his Old Testament narratives and using Abrahamic imagery in their works. However, while some areas of study in Abrahamic texts have received much scholarly attention, other areas remain nearly untouched. Beginning with a perspective on how Abraham was used within Jewish literature, this collection of essays follows the impact of Abraham across biblical texts–including Pseudigraphic and Apocryphal texts – into early Greek, Latin and Gnostic literature. These essays build upon existing Abraham scholarship, by discussing Abraham in less explored areas such as rewritten scripture, Philo of Alexandria, Josephus, the Apostolic Fathers and contemporary Greek and Latin authors. Through the presentation of a more thorough outline of the impact of the figure and stories of Abraham, the contributors to this volume create a concise and complete idea of how his narrative was employed throughout the centuries, and how ancient authors adopted and adapted received traditions.

Paul Cézanne challenged convention, and proposed new possibilities for modern art. He was remarkable for his ability to perceive and paint everyday places, people, and things in ways that revealed the multiplicity and beauty of vision, while also unveiling the deep, cohesive structures of the visible world. But the intellectual and emotional difficulties of his achievements were considerable. Mainly self-taught, most of his career was plagued by rejection. The critics, and the public, disliked his paintings and, in 1884, Cézanne declared that Paris, the center of the nineteenth-century art world, had defeated him. Repeatedly, he retreated into self-doubt and bad temper. This book follows Cézanne on his extraordinary artistic journey, focusing on his formative discoveries, made not in the flashy, fashionable metropolis but in provincial and rural France and often in isolation. This title is appropriate for ages 14 and up

"The four essays in this volume constitute Derrida's most explicit and sustained reflection on the art work as pictorial artifact, a reflection partly by way of philosophical aesthetics (Kant, Heidegger), partly by way of a commentary on art works and art scholarship (Van Gogh, Adami, Titus-Carmel). The illustrations are excellent, and the translators, who clearly see their work as both a rendering and a transformation, add yet another dimension to this richly layered composition. Indispensable to collections emphasizing art criticism and aesthetics."—Alexander Gelley, Library Journal