Product Description 
Dangerous Art takes up the problem of judging works of art using moral standards. When we think that a work is racist, or morally dangerous, what do we mean? James Harold approaches the topic from two angles. First, he takes up the moral question on its own. What could it mean to say that a 
work of art (rather than, say, a human being) is 
immoral? He then steps back and examines how moral evaluation fits into the larger task of evaluating artworks. If an artwork is immoral, what does that tell us about how to value the artwork?\nBy tackling the issue from both sides, Harold demonstrates how many of the reasons previously given for thinking that works of art are immoral do not stand up to careful scrutiny. While many philosophers of art have simply assumed that artworks can be evaluated morally and proceeded as though such 
assessments were unproblematic, Harold highlights the complexities and difficulties inherent in such evaluations. He argues that even when works of art are rightly condemned from a moral point of view, the relationship between that moral flaw and their value as artworks is complex. He instead 
defends a moderate, skeptic version of autonomism between morality and aesthetics. Employing figures and ideas from ancient Greece, classical China, and the Harlem Renaissance, as well as William Styron's novel 
The Confessions of Nat Turner, he argues that we cannot judge artworks in the same way 
that we judge people on moral grounds. In this sense, we can judge an artwork to be both wicked and beautiful; nothing requires us to judge an artwork more or less valuable aesthetically just because we judge it to be morally bad or good. Taking up complex issues at the intersection of art and 
ethics, 
Dangerous Art will appeal to philosophers and students interested in art, aesthetics, moral philosophy, and philosophy of mind.\nReview 
"Summing Up: Recommended. Lower-division undergraduates through faculty; professionals." -- T. Nygard, 
CHOICE\n"...Harold's book is essential reading for anyone interested in the moral criticism of art. Harold's approach to the issue is notable..." -- Anthony Cross, 
The Journal of Aesthetics and Art Criticism\nAbout the Author \nJames Harold is Professor of Philosophy at Mount Holyoke College.

Dangerous Art: On Moral Criticisms of Artwork (Thinking Art)

Politics & Social Sciences

Harold, James

Philosophy

Oxford University Press

This volume is about how and whether art can be morally bad (or morally good). Politicians, media pundits, and others frequently complain that particular works of art are morally dangerous, or, sometimes, that particular works are morally edifying (the "great works" of literature, for example). But little attention is often given to the question of what makes art morally good in the first place. This comprehensive volume of forty-five new essays explores a wide variety of historical and theoretical perspectives, looking at different art forms and different problems. Each section of the volume samples a mix of topics that have been widely discussed alongside those that have been less noticed by philosophers. What emerges is a sense of the great variety of different problems and approaches as well as some recurring and overlapping themes. The essays in this volume put forth a deliberate effort to stretch beyond some of the debates and problems most familiar to Anglophone philosophers. Familiar topics and positions have been placed side by side in the volume with new and neglected ones, sometimes suggesting surprising connections and conflicts. The volume is divided into four sections: Historical Perspectives, Theoretical Approaches, Individual Arts, and Problems. Chapters in "Historical Perspectives" cover significant historical and cultural periods in which philosophical debates about ethics and art became salient, from ancient Greece and China to Japan, the Harlem Renaissance, and beyond. These chapters show the wide variety of different concrete practices that were associated with the idea of "art," as well as the great range of approaches to thinking about what constitutes an "ethical" concern. The section on "Theoretical Approaches" takes up questions about the relationship between moral and aesthetic evaluation, moral theories, and the familiar debate between "moralists," "autonomists," and others. The section on "Individual Arts" considers how moral questions arise in distinctive ways for different art forms, including traditional arts such as music, literature, and painting, and newer art forms such as video games. The final section, "Problems," takes up a variety of special ethical problems that arise in the arts, such as forgery, cultural appropriation, and moral learning.

The Oxford Handbook of Ethics and Art (OXFORD HANDBOOKS SERIES)

Arts & Photography

The German Slump: Politics and Economics 1924-1936

The collapse of the German economy in the interwar years provides the most dramatic case-study of a democracy faced with the major economic problems--world recession, instability in international finance, management and labor problems, and unemployment--which resulted in the advent of Nazism. This is the first survey of the German "slump" in English and the first in any language since important archives became available. Arguing that long-term weaknesses caused by structural rigidity, increasingly conservative investment choices, poor labor relations, high taxation, and an inefficient agrarian sector led to economic and political instability, James here shows the connections between long-term weaknesses and particular policy responses in a crucial period of 20th-century European history.

Business & Money

Economics

Birds in the Australian high country

Science & Math

Watts, Betty Temple Frith

Biological Sciences

Angus&Robertson

This work tells the story of the rise to fortune of one of the world's largest banks - from its foundations on 1870 and the early years, to the great expansion before World War I, the difficult war years, the great inflation and the tenuous stabilization of the late 1920s, the great Depression and banking crisis of the early 30s, the effects of Nazi rule and a new world war, through to a key role in the great achievements and growth of postwar Germany and the bank's rise to a global provider of financial services.

The Deutsche Bank, 1870-1995

Lothar Gall

Gerald D. Feldman

Carl-Ludwig Holtfrerich

Hans E. Büschgen

Weidenfeld&Nicolson

The undeclared war

New English Library

Deutsche Bank and the Nazi Economic War Against the Jews: The Expropriation of Jewish-Owned Property

Cambridge University Press

The End of Globalization: Lessons from the Great Depression

"Globalization" is here. Signified by an increasingly close economic interconnection that has led to profound political and social change around the world, the process seems irreversible. In this book, however, Harold James provides a sobering historical perspective, exploring the circumstances in which the globally integrated world of an earlier era broke down under the pressure of unexpected events. 
 James examines one of the great historical nightmares of the twentieth century: the collapse of globalism in the Great Depression. Analyzing this collapse in terms of three main components of global economics--capital flows, trade, and international migration--James argues that it was not simply a consequence of the strains of World War I but resulted from the interplay of resentments against all these elements of mobility, as well as from the policies and institutions designed to assuage the threats of globalism. Could it happen again? There are significant parallels today: highly integrated systems are inherently vulnerable to collapse, and world financial markets are vulnerable and unstable. While James does not foresee another Great Depression, his book provides a cautionary tale in which institutions meant to save the world from the consequences of globalization--think WTO and IMF, in our own time--ended by destroying both prosperity and peace.

Harvard University Press

This history of three powerful family firms located in different European countries takes place over a period of more than two hundred years. The interplay and the changing social and legal arrangements of the families shaped the development of a European capitalism quite different from the Anglo-American variety.
Qualifying claims by Alfred Chandler and David Landes that family firms tend to be dysfunctional, Harold James shows how and why these steel and engineering firms were successful over long periods of time. Indeed, he sees the family enterprise as particularly conducive to managing risk during periods of upheaval and uncertainty when both states and markets are disturbed. He also identifies the key roles played by women executives during such times. 
In Family Capitalism, James tells how "iron masters" of a classical industrial cast were succeeded by new generations who wanted to shift to information-age systems technologies, and how families and firms wrestled with social and economic changes that occasionally tore them apart. Finally, the author shows how the trajectories of the firms were influenced by political, military, economic, and social events and how these firms illuminate a European model of "relationship capitalism."

Family Capitalism: Wendels, Haniels, Falcks, and the Continental European Model

Belknap Press: An Imprint of Harvard University Press

Harold James examines the vulnerability and fragility of processes of globalization, both historically and in the present. This book applies lessons from past breakdowns of globalization—above all in the Great Depression—to show how financial crises provoke backlashes against global integration: against the mobility of capital or goods, but also against flows of migration. By a parallel examination of the financial panics of 1929 and 1931 as well as that of 2008, he shows how banking and monetary collapses suddenly and radically alter the rules of engagement for every other type of economic activity. 
 Increased calls for state action in countercyclical fiscal policy bring demands for trade protection. In the open economy of the twenty-first century, such calls are only viable in very large states—probably only in the United States and China. By contrast, in smaller countries demand trickles out of the national container, creating jobs in other countries. The international community is thus paralyzed, and international institutions are challenged by conflicts of interest. The book shows the looming psychological and material consequences of an interconnected world for people and the institutions they create.

The Creation and Destruction of Value: The Globalization Cycle

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