Save
Save chapter to my Bookmarks
Cite
Cite this chapter
Print this chapter
Share
Share a link to this chapter
Free
Acknowledgments
Alexander Nehamas
Description: Only a Promise of Happiness: The Place of Beauty in a World of Art
Only a Promise of Happiness: The Place of Beauty in a World of Art
For the third time in my life, an invitation to the University of California at Berkeley has resulted in a book. This one began as the Townsend Lectures in 2000, when I had the immense benefit of several discussions with Donald Davidson. Considerably expanded, the text served as the core of the Tanner Lectures I delivered at Yale University in 2001 at the invitation of Peter Brooks, then director...
Author
Alexander Nehamas
PublisherPrinceton University Press
Copyright© 2007 by Princeton University Press
Stable URL: https://aaeportal.com/?id=-22117
View chapters with similar subject tags
Chapter images ()
Loading image navigation...
No image index could be found for this publication.
Close this Panel
Show previous images Show next images
Acknowledgments
For the third time in my life, an invitation to the University of California at Berkeley has resulted in a book. This one began as the Townsend Lectures in 2000, when I had the immense benefit of several discussions with Donald Davidson. Considerably expanded, the text served as the core of the Tanner Lectures I delivered at Yale University in 2001 at the invitation of Peter Brooks, then director of the Whitney Humanities Center—a happy occasion made even better by the productive disagreement of Richard Rorty and Elaine Scarry. Material from these lectures is reprinted here with the permission of the Tanner Lectures on Human Values and the University of Utah Press.
Over the next four years, many students, colleagues and friends, particularly Lanier Anderson, Denis Donoghue, and Joshua Landy, gave me both their time and their attention—two of them, Thomas Laqueur and Paul Guyer, more than I had any reason to expect. Nor did I have any reason to expect the startling generosity of the Mellon Foundation; I hope I have put it to good use.
Arthur Danto, with whose approach to the philosophy of art this book engages at length, has been on my mind throughout its writing. So has Bernard Williams, whose approach to philosophy more generally may be implicit but not, for that reason, any less important. Finally, I hope that Arthur Szathmary, who was my teacher in the philosophy of art when I was a graduate student at Princeton many years ago, will accept this short book as a grateful acknowledgment of his generous and spirited friendship, personal and intellectual.
Acknowledgments
Previous chapter