Public sorrows and private pleasures (Studies in phenomenology and existential philosophy)

Earle, William

Indiana University Press

Book by Earle, William, Edie, James M., Wild, John

Christianity and Existentialism (Studies in Phenomenology and Existential Philosophy)

Wild,John

Edie, James M.

Religion & Spirituality

Northwestern University Press

Literature & Fiction

Ayer Co. Pub

Mystical reason

Regnery/Gateway

Evanescence looks into some shadows of thought which, while having their own sense, tend to disappear in the light of full rational investigation. God, the World and the Soul are central but not exclusive themes. From this point of view, we hover between what is eternally clear and what, in principle, is not. It concludes with a probe into the glories beyond the grave.

Evanescence: Peri-Phenomenological Essays

Politics & Social Sciences

Philosophy

Gateway Editions

Surrealism of the Movies

Humor & Entertainment

Movies

Routledge

Evanescence looks into some shadows of thought which, while having their own sense, tend to disappear in the light of full rational investigation.  God, the World and the Soul are central but not exclusive themes.  From this point of view, we hover between what is eternally clear and what, in principle, is not.  It concludes with a probe into the glories beyond the grave.

William Caxton Ltd

Book by Donald Robert Stoltz, Marshall Stoltz, William F. Earle

The Advertising World of Norman Rockwell

Business & Money

Rockwell, Norman

Stoltz, Dr. Donald Robert

Stoltz, Marshall Louis

Marketing & Sales

Madison Square Press

Surrealism in Film: Beyond the Realist Sensibility

The arts were created from an appeal to freedom. There can be no general aesthetic that defines how that freedom must express itself. Movies offer a seductive example. Of all the major arts, cinema is the only one that was invented during the lifetime of some who are now living. From this perspective, Earle argues that filmmakers were far more inventive in their early days than now, when commercial film has settled into a realist routine with occasional and timid forays into the personal and imaginative.
Earle suggests that unsympathetic readers should look again at the possible sources of film poetry, sources that have almost dried up in the flood of boredom experienced nightly in theaters throughout the world. Surrealism in Film is largely a manifesto against realism; it ends in a clash of sensibilities. The book encourages new exploration of absolute poetry.
The intention of these essays is to destroy the absolute authority of the realist sensibility. Within that sensibility is everything thought necessary to "sense": narrative plot, recognizable and nameable passions, continuity and integration within the film, a gist or moral for the whole affair, social commentary, and psychoanalytic depth-meanings. Earle argues for a self-critique that should be performed if movies are not to remain encapsulated within its own delusions.

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