Kirjahaku

In the 1790s, a close-knit group of German philosophers published several garden theory texts. These works are unique in that a close-knit group of philosophers had never before--and has not since--produced so many works on the topic of garden design. In essence, this cohort sought to imbue the most visionary concepts that had been inherited from the German garden tradition with the intellectual resources that were newly available through Kant’s critical philosophy. The most important of these concepts was the prescription for a new Mittelweg, or "middle path," garden that would mediate between the perceived excesses of French formalism and the English picturesque. In close analysis, the author demonstrates that Kant used similar "middle path" techniques in the design of his own "critical path" between dogmatism and skepticism. This similarity is most apparent when he uses topographical metaphors to describe the organizational principles of his system. By interpreting Kant’s topographical metaphors in relation to contemporary garden theories, this book offers new insights into the structural similarities between his "critical path" and the German garden’s "middle path" between French formalism and the English picturesque.

In the 1790s, a close-knit group of German philosophers published several garden theory texts. These works are unique in that a close-knit group of philosophers had never before--and has not since--produced so many works on the topic of garden design. In essence, this cohort sought to imbue the most visionary concepts that had been inherited from the German garden tradition with the intellectual resources that were newly available through Kant’s critical philosophy. The most important of these concepts was the prescription for a new Mittelweg, or "middle path," garden that would mediate between the perceived excesses of French formalism and the English picturesque. In close analysis, the author demonstrates that Kant used similar "middle path" techniques in the design of his own "critical path" between dogmatism and skepticism. This similarity is most apparent when he uses topographical metaphors to describe the organizational principles of his system. By interpreting Kant’s topographical metaphors in relation to contemporary garden theories, this book offers new insights into the structural similarities between his "critical path" and the German garden’s "middle path" between French formalism and the English picturesque.

Randy Shilts was the greatest LGBTQ reporter of his generation. He was the first openly gay journalist in mainstream news media and one of the nation’s most influential chroniclers of gay history, politics, and culture. Shilts wrote three seminal works on the community: The Mayor of Castro Street, on the life, assassination, and legacy of Harvey Milk; And the Band Played On, detailing the failure of politics as usual during the early AIDS epidemic; and Conduct Unbecoming, a history of the US military’s mistreatment of LGBTQ servicemembers. Yet the intimate life story of Randy Shilts has been left unwritten. When the Band Played On tells that story, recognizing his legacy as a trailblazing figure in gay activism, journalism, and public policy. Author Michael G. Lee conducted interviews with Shilts’s family, friends, college professors, colleagues, informants, lovers, and critics. The resulting narrative tells the tale of a singularly gifted voice, a talented yet insecure young man whose coming of age became intricately linked to the historic peaks and devastating perils of modern gay liberation. When the Band Played On is the authoritative account of Randy Shilts’s trailblazing life, as well as his legacy of shaping the history-making events he covered.