David Weinstein – författare

The 'Art of Life' is John Stuart Mill's name for his account of practical reason. In this volume, eleven leading scholars elucidate this fundamental, but widely neglected, element of Mill's thought. Mill divides the Art of Life into three 'departments': 'Morality, Prudence or Policy, and Æsthetics'. In the volume's first section, Rex Martin, David Weinstein, Ben Eggleston, and Dale E. Miller investigate the relation between the departments of morality and prudence. Their papers ask whether Mill is a rule utilitarian and, if so, whether his practical philosophy must be incoherent. The second section contains papers by Jonathan Riley and Wendy Donner, who explore the relation between the departments of morality and aesthetics. They discuss issues ranging from supererogation to aesthetic pleasure and humanity's relationship with nature.The papers in the third section consider the Art of Life's axiological first principle, the principle of utility. Elijah Millgram contends that Mill's own life refutes his claim that the Art of Life has a single axiological first principle. Philip Kitcher maintains that Mill has a dynamic axiology requiring us to continually refine our conception of the good. In the final section, three papers address what it means to put the Art of Life into practice. Robert Haraldsson locates an 'Art of Ethics' in On Liberty that is in tension with the Art of Life. Nadia Urbinati plumbs the classical roots of Mill's view of the good life. Finally, Colin Heydt develops Mill's suggestion that we regard our own lives as works of art.

The "Art of Life" is John Stuart Mill's name for his account of practical reason. In this volume, eleven leading scholars elucidate this fundamental, but widely neglected, element of Mill's thought. Mill divides the Art of Life into three "departments": "Morality, Prudence or Policy, and Aesthetics."In the volume's first section, Rex Martin, David Weinstein, Ben Eggleston, and Dale E. Miller investigate the relation between the departments of morality and prudence. Their papers ask whether Mill is a rule utilitarian and, if so, whether his practical philosophy must be incoherent.The second section contains papers by Jonathan Riley and Wendy Donner, who explore the relation between the departments of morality and aesthetics. They discuss issues ranging from supererogation to aesthetic pleasure and humanity's relationship with nature.The papers in the third section consider the Art of Life's axiological first principle, the principle of utility. Elijah Millgram contends that Mill's own life refutes his claim that the Art of Life has a single axiological first principle. Philip Kitcher maintains that Mill has a dynamic axiology requiring us to continually refine our conception of the good. In the final section, three papers address what it means to put the Art of Life into practice. Robert Haraldsson locates an 'Art of Ethics' in On Liberty that is in tension with the Art of Life. Nadia Urbinati plumbs the classical roots of Mill's view of the good life. Finally, Colin Heydt develops Mill's suggestion that we regard our own lives as works of art.

This rich and provocative study assesses Herbert Spencer's pivotal contribution to the emergence of liberal utilitarianism and shows that Spencer, as much as J. S. Mill, provided liberal utilitarianism with its formative contours. Like Mill, Spencer tried to reconcile a principle of liberty and strong moral rights with a utilitarian, maximizing theory of good. In this powerful and sympathetic account, David Weinstein argues that Spencer's moral and political thought exhibits greater systematic integrity than received views of his thought acknowledge. However, Weinstein also examines the problems and flaws in Spencer's version of liberal utilitarianism, and shows that, precisely because of these flaws, it is engaging and deserving of our critical attention. This challenging study will be of interest to graduates and scholars in the fields of political theory, moral and political philosophy, and the history of political thought.

This rich and provocative study assesses Herbert Spencer's pivotal contribution to the emergence of liberal utilitarianism and shows that Spencer, as much as J. S. Mill, provided liberal utilitarianism with its formative contours. Like Mill, Spencer tried to reconcile a principle of liberty and strong moral rights with a utilitarian, maximizing theory of good. In this powerful and sympathetic account, David Weinstein argues that Spencer's moral and political thought exhibits greater systematic integrity than received views of his thought acknowledge. However, Weinstein also examines the problems and flaws in Spencer's version of liberal utilitarianism, and shows that, precisely because of these flaws, it is engaging and deserving of our critical attention. This challenging study will be of interest to graduates and scholars in the fields of political theory, moral and political philosophy, and the history of political thought.

Hans Baron, Karl Popper, Leo Strauss and Erich Auerbach were among the many German-speaking Jewish intellectuals who fled Continental Europe with the rise of Nazism in the 1930s. Their scholarship, though not normally considered together, is studied here to demonstrate how, despite their different disciplines and distinctive modes of working, they responded polemically in the guise of traditional scholarship to their shared trauma. For each, the political calamity of European fascism was a profound intellectual crisis, requiring an intellectual response which Weinstein and Zakai now contextualize, ideologically and politically. They exemplify just how extensively, and sometimes how subtly, 1930s and 1940s scholarship was used not only to explain, but to fight the political evils that had infected modernity, victimizing so many. An original perspective on a popular area of research, this book draws upon a mass of secondary literature to provide an innovative and valuable contribution to twentieth-century intellectual history.

Hans Baron, Karl Popper, Leo Strauss and Erich Auerbach were among the many German-speaking Jewish intellectuals who fled Continental Europe with the rise of Nazism in the 1930s. Their scholarship, though not normally considered together, is studied here to demonstrate how, despite their different disciplines and distinctive modes of working, they responded polemically in the guise of traditional scholarship to their shared trauma. For each, the political calamity of European fascism was a profound intellectual crisis, requiring an intellectual response which Weinstein and Zakai now contextualize, ideologically and politically. They exemplify just how extensively, and sometimes how subtly, 1930s and 1940s scholarship was used not only to explain, but to fight the political evils that had infected modernity, victimizing so many. An original perspective on a popular area of research, this book draws upon a mass of secondary literature to provide an innovative and valuable contribution to twentieth-century intellectual history.

This absorbing biography chronicles the life and work of one of the most important entertainers of the twentieth century. Eddie Cantor (1892–1964) starred in theater, film, radio, and television. His immense popularity across a variety of media, his pride in his Jewish heritage, and his engagement with pressing political issues distinguished him from other headliners of his era. Paying equal attention to Cantor’s humor and politics, Weinstein documents his significance as a performer, philanthropist, and activist. Many show business figures quietly shed their Jewish backgrounds or did not call attention to the fact that they were Jewish. Cantor was different. He addressed the vital issues of his times, including acculturation, national identity, and antisemitism. He was especially forceful in opposing Nazism and paid a price for this activism in 1939, when a sponsor cancelled the actor’s radio program. In this carefully researched book, Weinstein uncovers sketches and routines filled with Jewish phrases, allusions, jokes, songs, and stories. Cantor frequently did not mark this material as “Jewish,” relying instead on attentive audiences to interpret his coded performances. Illustrated with thirty photographs, The Eddie Cantor Story examines the evolution, impact, and legacy of Cantor’s performance style. His music and comedy not only shaped the history of popular entertainment, but also provide a foundation for ongoing efforts to redefine Jewish culture and build community in contemporary America.