Virtue And Vanity

We are all guilty of it. We call people terrible names in conversation or online. We vilify those with whom we disagree, and make bolder claims than we could defend. We want to be seen as taking the moral high ground not just to make a point, or move a debate forward, but to look a certain way--incensed, or compassionate, or committed to a cause. We exaggerate. In other words, we grandstand. Nowhere is this more evident than in public discourse today, and especially as it plays out across the internet. To philosophers Justin Tosi and Brandon Warmke, who have written extensively about moral grandstanding, such one-upmanship is not just annoying, but dangerous. As politics gets more and more polarized, people on both sides of the spectrum move further and further apart when they let grandstanding get in the way of engaging one another. The pollution of our most urgent conversations with self-interest damages the very causes they are meant to forward. Drawing from work in psychology, economics, and political science, and along with contemporary examples spanning the political spectrum, the authors dive deeply into why and how we grandstand. Using the analytic tools of psychology and moral philosophy, they explain what drives us to behave in this way, and what we stand to lose by taking it too far. Most importantly, they show how, by avoiding grandstanding, we can re-build a public square worth participating in.

A dazzling debut about the power of family and the pain of betrayal set within Manhattan's Fifth Avenue apartments, the opulent mansions of the new Moscow, and the pre-revolutionary palaces of Saint Petersburg. Sasha Ozerovsky is a young expert in Russian art at Leighton's, an exclusive Manhattan auction house. When a dealer arrives from Moscow with an exquisite 1913 Fabergé figurine, Sasha immediately recognizes a rare masterpiece. But in the high stakes art world, the price of an object is tied to its history. If Sasha can determine for whom the bejeweled piece was made and where it has been hiding for the past century, its value -- and Sasha's career -- will soar. But as Sasha moves between New York's high society and Russia's new rich, he discovers that the piece once belonged to his family, and he must face questions about their past that he never dared to ask. Superbly plotted and evoking the elegance of Russia's gilded age, Object of Virtue is an enthralling tale that explores what happens to a family torn between vanity and virtue.

In The Great Gatsby, F. Scott Fitzgerald told the tale of a high society love affair that became an iconic depiction of life during the Jazz Age of the 1920s. After the 1929 stock market crash, life took an ironic downturn even for the wealthy. Written in light of these events, The Golden Vanity is both a social comedy of errors and a sardonic view of the Jazz Age and the crash, told through the lives of three self-assertive women who could not be more different. Cousins Gina, Geraldine, and Mysie are all inhabitants of New York City, but their lives could not be more different. A secretary starts a new job rife with romantic entanglements, a best-selling novelist is undermined by her husband’s attempts to win big on the stock market, and an actress leads an unconventional, yet surprisingly intellectual, life. Isabel Paterson follows their stories through the economic collapse and demonstrates, with sophisticated wit, that “doing what everyone else is doing” is not the best way to survive such times. Originally published in 1934, The Golden Vanity has been out of print for far too long. A new introduction by Stephen Cox illuminates the novel’s important historical footprint and places it in a modern context.

For a century and a half, the artists and intellectuals of Europe have scorned the bourgeoisie. And for a millennium and a half, the philosophers and theologians of Europe have scorned the marketplace. The bourgeois life, capitalism, Mencken’s “booboisie” and David Brooks’s “bobos”—all have been, and still are, framed as being responsible for everything from financial to moral poverty, world wars, and spiritual desuetude. Countering these centuries of assumptions and unexamined thinking is Deirdre McCloskey’s The Bourgeois Virtues, a magnum opus that offers a radical view: capitalism is good for us. McCloskey’s sweeping, charming, and even humorous survey of ethical thought and economic realities—from Plato to Barbara Ehrenreich—overturns every assumption we have about being bourgeois. Can you be virtuous and bourgeois? Do markets improve ethics? Has capitalism made us better as well as richer? Yes, yes, and yes, argues McCloskey, who takes on centuries of capitalism’s critics with her erudition and sheer scope of knowledge. Applying a new tradition of “virtue ethics” to our lives in modern economies, she affirms American capitalism without ignoring its faults and celebrates the bourgeois lives we actually live, without supposing that they must be lives without ethical foundations. High Noon, Kant, Bill Murray, the modern novel, van Gogh, and of course economics and the economy all come into play in a book that can only be described as a monumental project and a life’s work. The Bourgeois Virtues is nothing less than a dazzling reinterpretation of Western intellectual history, a dead-serious reply to the critics of capitalism—and a surprising page-turner.

This book addresses a prominent group of virtues and vices as portrayed in popular films to further our understanding of these moral character traits. The discussions emphasize the interplay between the philosophical conception of the virtues and vices and the cinematic representations of character. Joseph H. Kupfer explores how fictional characters possessing certain moral strengths and weaknesses concretize our abstract understanding of them. Because the actions that flow from these traits occur in cinematic contexts mirroring real world conditions, the narrative portrayals of these moral characteristics can further our appreciation of their import. Humility, integrity, and perseverance, for example, are depicted in Chariots of Fire, The Fabulous Baker Boys, and Billy Elliot, while the vices of envy, arrogance and vanity are captured in Amadeus, Whiplash, and Young Adult. This interdisciplinary work in philosophy and film criticism will be of great interest to scholars and students of film studies, philosophy of film, ethics, aesthetics, and popular culture.

An intimate look into the inner lives of our most prominent cultural figures— pulled from the celebrated Proust Questionnaire page in Vanity Fair magazine. The probing set of questions originated as a 19th-century parlor game popularized by contemporaries of Marcel Proust, the French essayist and novelist, who believed that an individual's answers reveal his true nature. Illustrated by Risko, Vanity Fair's Proust Questionnaire Edited by Graydon Carter and Illustrated by Risko, brings together the responses of 101 of the most vibrant personalities of our time, from Bette Midler and Lauren Bacall to Salman Rushdie and Norman Mailer, from Martin Scorsese and Shirley MacLaine to Aretha Franklin and Eric Clapton. Candid, hilarious, and endlessly fascinating,

You're beautiful and kind and very smart. But best of all, you're mine. Do you remember the stories your Grandma used to tell you every night about cursed beasts, village beauties, girls in red capes and wolves in disguises? Well, maybe, just maybe... they actually do happen. Maybe, beasts do exist. They do. I would know. I am bound to one. Whom, you may ask? Well, I am mated to the Alpha King. How? You will see. You will live through it with me. I am Theia Anderson. I am just like any one of you, human, alive, and breathing. But unlike any one of you, I've stumbled upon a world that until yesterday... I couldn't even fathom into existence. This is my story.