R J Kaufmann
Biographic Data
| ID | 5842151 |
|---|---|
| NAME | R J Kaufmann |
| GIVEN NAMES | R J |
| FAMILY NAME | Kaufmann |
| SIGNATURE | KAUFMANN R J |
| ORCID | 0009-0001-6501-1275 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1959 |
| LATEST PUBLICATION YEAR | 1965 |
| H-INDEX | 0 |
Ceremonies for Chaos
A young artist starts off believing in the reality of his materials. This applies to the artistic conventions and ethical constructs he inherits as well as to the paint, words, personae and germinal stories he finds there to greet him when he begins. But the major artist reaches a point where he must actively question the reality and the centrality of this inherited way of making sense of things. This is the artistic equivalent of the fear of the…
The Expense of Many A Vanished Sight”
“ In normal times the guillotine, luckily, is not at the disposal of historians .” Paul Valéry History is a humanly necessary mode of knowing. Every poised epoch is knit together by the imaginative language it uses to expropriate an organized past from whose qualitative contours it then silently, habitually infers its own nature. History as a fact of communal psychology thus maintains a many-layered referential manifold. This referential manifold…
The Critic as Custodian of Sanity
Our Debt to Dr. Leavis
No prominent works on this page.
The Critic as Custodian of Sanity
Our Debt to Dr. Leavis
The Expense of Many A Vanished Sight”
“ In normal times the guillotine, luckily, is not at the disposal of historians .” Paul Valéry History is a humanly necessary mode of knowing. Every poised epoch is knit together by the imaginative language it uses to expropriate an organized past from whose qualitative contours it then silently, habitually infers its own nature. History as a fact of communal psychology thus maintains a many-layered referential manifold. This referential manifold…
Ceremonies for Chaos
A young artist starts off believing in the reality of his materials. This applies to the artistic conventions and ethical constructs he inherits as well as to the paint, words, personae and germinal stories he finds there to greet him when he begins. But the major artist reaches a point where he must actively question the reality and the centrality of this inherited way of making sense of things. This is the artistic equivalent of the fear of the…
Computer Science (3 works) · Citation (2 works) · History (2 works) · History (2 works) · Library science (2 works) · Psychology (2 works) · Sociology (2 works) · Aesthetics (1 work) · Art (1 work) · Biographical and Historical Analysis (1 work)