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Omnivore

The analytic tradition in philosophy

Zhang Haipeng (Hong Kong): The Concepts of Analyticity. Nat Hansen (Reading): Contemporary Ordinary Language Philosophy. Eugen Fischer (East Anglia): Verbal Fallacies and Philosophical Intuitions: The Continuing Relevance of Ordinary Language Analysis. Kevin C. Klement reviews The Oxford Handbook of the History of Analytic Philosophy, ed. Michael Beaney. From PUP, the introduction to Analytic Philosophy in America: And Other Historical and Contemporary Essays by Scott Soames and the first chapter


Paper Trail

The American Scholar has started a list of bad opening lines of novels—Richard Powers’s opening of Galatea 2.2, to take one example: “It was like so, but wasn’t.” Two new funders of Reddit, according to a list the website recently released: Jared Leto and Snoop Dogg. People are betting on who will win the Nobel Prize

Syllabi

Sextet

Michael Barron"Writing about music," the saying goes, "is like dancing about architecture." If it's meant to dissuade, the warning has gone unheeded: Over the years, a number of novels about music have ingeniously

Daily Review

Lila

An essentially religious writer, Marilynne Robinson stands quite alone in this "unreligious age," as Iris Murdoch called it, in which we turn to art for an experience akin to prayer. With these novels, all of them wrought from theological concerns, Robinson has created a secular church of readers.

Interviews

Eula Biss

As Eula Biss began investigating immunity and public health, her interest moved from the question of fear to the question of how to move past it, and into a discussion of social ethics and care: What does an individual body—scared or not—owe the collective body?

Cinema

Film as Film: The Collected Writings of Gregory J. Markopoulos

Rebekah Rutkoff

A key figure in the New American Cinema of the 1960s, Gregory J.Markopoulos made ambitious films starting in the late ’40s, complex psychodramas and romantic meditations that used symbolic color and rapid montage. For Markopoulos, the delicate and, in his words, “divine” potential of film was too easily damaged when the artist ceded screening responsibility to curators and institutions with their own priorities, both financial and

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