C.S. Lewis's celebrated Space Trilogy - Out of the Silent Planet, Perelandra, and That Hideous Strength - was completed over sixty years ago and has remained in print ever since. In this groundbreaking study, Sanford Schwartz offers a new reading that challenges the conventional view of these novels as portraying a clear-cut struggle between a pre-modern cosmology and the modern scientific paradigm that supplanted it. Schwartz situates Lewis's work in the context of modern intellectual, cultural, and political history. He shows that Lewis does not simply dismiss the modern "evolutionary model," but discriminates carefully among different kinds of evolutionary theory-"mechanistic" in Out of the Silent Planet, "vitalist" in Perelandra, and "spiritual" in That Hideous Strength-and their distinctive views of human nature, society, and religious belief. Schwartz also shows that in each book the conflict between Christian and "developmental" viewpoints is far more complex than is generally assumed. In line with the Augustinian understanding that "bad things are good things perverted," Lewis constructs each of his three "beatific" communities-the "unfallen" worlds on Mars and Venus and the terrestrial remnant at St. Anne's-not as the sheer antithesis but rather as the transfiguration or "raising up" of the particular evolutionary doctrine that is targeted in the novel. In this respect, Lewis is more deeply engaged with the main currents of modern thought than his own self-styled image as an intellectual "dinosaur" might lead us to believe. He is also far more prepared to explore the possibilities for reshaping the evolutionary model in a manner that is simultaneously compatible with traditional Christian doctrine and committed to addressing the distinctive concerns of modern existence. C.S. Lewis on the Final Frontier highlights the enduring relevance of Lewis's fiction to contemporary concerns on a wide variety of issues, including the ethical problems surrounding bio-technology and the battle between religious and naturalistic worldviews in the twenty-first century. Far from offering a black and white contrast between an old-fashioned Christian humanism and a newfangled heresy, the Space Trilogy should be seen as a modern religious apologist's searching effort to enrich the former through critical engagement with the latter.

C. S. Lewis on the Final Frontier: Science and the Supernatural in the Space Trilogy

Schwartz, Sanford

Religion & Spirituality

Oxford University Press

William Nicholson (18721949) was an English painter of ravishingly beautiful still lifes and landscapes. Yet he holds an uncertain place in British art, largely because he left no statements about his aims and indirectly because his sonthe better-known artist Ben Nicholsonsubtly downplayed his father’s achievements.In this lively book, the first full critical biography of William Nicholson, Sanford Schwartz argues that the artist’s output has a coherent philosophical and psychological unity very much in harmony with his times, and he links Nicholson’s work in fascinating ways to that of his fellow artists. Schwartz also portrays Nicholson’s personal life in a more complex light, finding that it was a series of rivalries and collaborations with many individuals and that Nicholson’s uneasy relationship with his son Ben plagued him for years. Generously illustrated with paintings, drawings, and photographs, many of which are reproduced for the first time, this book reassesses Nicholson’s achievement and position within twentieth-century art.

William Nicholson (The Paul Mellon Centre for Studies in British Art)

Arts & Photography

Paul Mellon Centre BA

The Matrix of Modernism: Pound, Eliot, and Early Twentieth-Century Thought (Princeton Legacy Library)

Sanford Schwartz situates Modernist poetics in the intellectual ferment of the early twentieth century, which witnessed major developments in philosophy, science, and the arts. Beginning with the works of various philosophers--Bergson, James, Bradley, Nietzsche, and Husserl, among others--he establishes a matrix that brings together not only the principal characteristics of Modernist/New Critical poetics but also the affiliations between the Continental and the Anglo-American critical traditions.
Originally published in 1985.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Reference

Princeton University Press

Sanford Schwartz situates Modernist poetics in the intellectual ferment of the early twentieth century, which witnessed major developments in philosophy, science, and the arts. Beginning with the works of various philosophers--Bergson, James, Bradley, Nietzsche, and Husserl, among others--he establishes a matrix that brings together not only the principal characteristics of Modernist/New Critical poetics but also the affiliations between the Continental and the Anglo-American critical traditions.Originally published in 1985.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Rackstraw Downes paints down-to-earth, often gritty features of today's American environment in an unflinching and highly realistic style. This book is the first to provide a multifaceted picture of his work, its intellectual foundations, and its place in the history of art--from both outside commentators and Downes himself.
 Beautifully illustrated, with copious examples from thirty years of the artist's work, the book makes eminently clear why Downes is widely regarded as a "painter's painter." It showcases many of the artist's panoramic pictures--painted with a strong sense of place and a miniaturist's sense of scale. The images, which depict industrial parks, construction sites, housing projects, refineries, razor wire, and landfills, stimulate fresh thoughts about these supposedly unattractive sights. Bathed in the light of a precise time, the paintings resonate with a strikingly evocative quality.
 The three essays that accompany Downes's art provide rare insights into the way a painter thinks and works. Sanford Schwartz explores the relationships between the artist's personal and intellectual background and his oeuvre. Robert Storr situates Downes in the context of a number of highly prominent contemporary artists such as Chuck Close, Bernd and Hilla Becher, Jasper Johns, Gerhard Richter, and Robert Smithson in a way that offers a new interpretation of Downes's work, while making clear its importance within twentieth-century art. Downes's own essay, "Turning the Head in Empirical Space," presents a direct, firsthand account of his working methods within a larger discussion on spatial paradigms of Renaissance and post-Renaissance modes of painting.

Rackstraw Downes

Downes, Rackstraw

STORR, Robert

History & Criticism

Sanford Schwartz situates Modernist poetics in the intellectual ferment of the early twentieth century, which witnessed major developments in philosophy, science, and the arts. Beginning with the works of various philosophers--Bergson, James, Bradley, Nietzsche, and Husserl, among others--he establishes a matrix that brings together not only the principal characteristics of Modernist/New Critical poetics but also the affiliations between the Continental and the Anglo-American critical traditions.
Originally published in 1985.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Sanford Schwartz situates Modernist poetics in the intellectual ferment of the early twentieth century, which witnessed major developments in philosophy, science, and the arts. Beginning with the works of various philosophers--Bergson, James, Bradley, Nietzsche, and Husserl, among others--he establishes a matrix that brings together not only the principal characteristics of Modernist/New Critical poetics but also the affiliations between the Continental and the Anglo-American critical traditions.Originally published in 1985.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Essays discuss the work of modern painters, sculptors, and photographers, and examine the writings of other art critics

The Art Presence

Horizon Pr

Christen Kobke

Individual Artists

Rizzoli

"I believe I have a fetishistic relationship to paint. I'm like an anteater, devoted to the small patch of ground in front of me; endlessly doubling back until I get it right," said Mark Greenwold in an interview featured in this new collection of his bizarre, dream-like paintings and preparatory pencil drawings. Greenwold's medium-format, oil-on-wood paintings are made painstakingly slowly, with details of domestic and romantic scenes rendered meticulously: It can take the artist as long as a year to complete just one. Greenwold's narrative paintings feature friends and family, often symbolically located in bedrooms and bathrooms, with oversized heads and hands. According to the artist, "As for my subject matter, I've always been interested in strong, difficult content capable of arousing real misunderstandings."

Mark Greenwold: A Moment of True Feeling: 1997-2007

DC Moore Gallery

See the best price to sell, buy, or rent books by Schwartz, Sanford. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Schwartz, Sanford

See the best price to sell, buy, or rent books by Schwartz, Sanford. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

C. S. Lewis on the Final Frontier: Science and the Supernatural in the Space Trilogy

William Nicholson (The Paul Mellon Centre for Studies in British Art)

The Matrix of Modernism: Pound, Eliot, and Early Twentieth-Century Thought (Princeton Legacy Library)

The Matrix of Modernism: Pound, Eliot, and Early Twentieth-Century Thought (Princeton Legacy Library)

Rackstraw Downes

The Matrix of Modernism: Pound, Eliot, and Early Twentieth-Century Thought (Princeton Legacy Library)

The Matrix of Modernism: Pound, Eliot, and Early Twentieth-Century Thought (Princeton Legacy Library)

The Art Presence

Christen Kobke

Mark Greenwold: A Moment of True Feeling: 1997-2007