Finks

When news broke that the CIA had colluded with literary magazines to produce cultural propaganda throughout the Cold War, a debate began that has never been resolved. The story continues to unfold, with the reputations of some of America’s best-loved literary figures—including Peter Matthiessen, George Plimpton, and Richard Wright—tarnished as their work for the intelligence agency has come to light. Finks is a tale of two CIAs, and how they blurred the line between propaganda and literature. One CIA created literary magazines that promoted American and European writers and cultural freedom, while the other toppled governments, using assassination and censorship as political tools. Defenders of the “cultural” CIA argue that it should have been lauded for boosting interest in the arts and freedom of thought, but the two CIAs had the same undercover goals, and shared many of the same methods: deception, subterfuge and intimidation. Finks demonstrates how the good-versus-bad CIA is a false divide, and that the cultural Cold Warriors again and again used anti-Communism as a lever to spy relentlessly on leftists, and indeed writers of all political inclinations, and thereby pushed U.S. democracy a little closer to the Soviet model of the surveillance state. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 13.0px Helvetica; color: #323333; -webkit-text-stroke: #323333} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 15.0px; font: 13.0px Helvetica; color: #323333; -webkit-text-stroke: #323333; min-height: 16.0px} span.s1 {font-kerning: none}

Five Days at Memorial (2013) is a two-part investigation of the controversial events and decisions that took place at Memorial Medical Center in New Orleans in the chaotic days following Hurricane Katrina’s landfall. The narrative recounts the harrowing days during which the hospital’s staff, patients, volunteers, and community members had to contend with desperate conditions and make dramatic choices that may or may not have involved mercy killings... Purchase this in-depth summary to learn more.

Nielsen, Cathrin, Schnell, Alexander: Einleitung. Dzanic, Denis: Husserl and Fink on the "Miracle of Phenomenology". Chernavin, Georgy : Der dogmatische Schlummer nach Fink. Giubilato, Giovanni Jan: Breaking the Hermeneutic Circle . Phenomenology as "Catastrophe of Man" in Fink's Early Thought. Lazzari, Riccardo: Eugen Fink und das Thema des Wesens der menschlichen Freiheit. Ikeda, Yusuke: Fink und Kants Dialektik. Schnell, Alexander: Konstruktion und Reflexion . Zum transzendentalen Idealismus bei Fink und Fichte. Zorn, Daniel-Pascal: Philosophen, mit denen man denkt – Fink liest Hegel. Stanciu, Ovidiu: The Power of the Speculative . Fink, Hegel and the Horizons of Thinking. Coli, Anna Luiza: Finks Hegel-Deutung als Leitfaden der Entwicklung seines philosophischen Projekts. Bertolini, Simona: Sein und Mensch . Ontologische Erfahrung und Welterfahrung in Finks Interpretation der Philosophie Hegels. Nielsen, Cathrin: "Verkehrte Welt" . Zu Finks Deutung des Kraftkapitels aus Hegels Phänomenologie des Geistes. Barbaric, Damir: Hegel als Janus-Figur . Zu Eugen Finks Hegelinterpretation. Boelderl, Artur R.: Der Mensch als Fragment – in der Spur eines anderen Idealismus? . Eugen Fink und der arme Hölderlin

div Eugen Fink was Edmund Husserl’s research assistant during the last decade of the renowned phenomenologist’s life, a period in which Husserl’s philosophical ideas were radically recast. In this landmark book, Ronald Bruzina shows that Fink was actually a collaborator with Husserl, contributing indispensable elements to their common enterprise. Drawing on hundreds of hitherto unknown notes and drafts by Fink, Bruzina highlights the scope and depth of his theories and critiques. He places these philosophical formulations in their historical setting, organizes them around such key themes as the world, time, life, and the concept and methodological place of the “meontic,” and demonstrates that they were a pivotal impetus for the renewing of “regress to the origins” in transcendental-constitutive phenomenology. /DIV

Born in Los Angeles and raised in the epicentre of the California hot rod explosion, Ed Roth created automotive forms purely from his own imagination. He transformed car design, reinvented American hot rod culture and put Detroit on notice. Each of his creations transcended function and form to turn the American automobile into rolling sculpture.

"A catalogue of the graphic works of Herbert L. Fink, an artist of growing stature whose recent honors include a citation by the Society of Illustrators for some of the "best book illustrations for the year" (John Gardner's The King's Indian, 1973) and his 1979 election to the National Academy of Design. Fink's subjects include landscapes, figure studies, and surrealistic or allegorical representations. Obvious influences on the artist are the American impressionists he saw during the 1930s and 1940s, his teacher and idol, George Grosz, the Barbizon School, and such surrealists as Pieter Breugel. He has evolved from an analytical cubist to a realist, however surrealistic his juxtaposition of images may be."--Amazon.