A medievalist and defender of the notion of Christian philosophy, Étienne Gilson had a lifelong interest in the philosophy of art. He questioned whether what is reproduced as art in contemporary society is art at all. This is not a simple issue. A cheap version of a novel is still a novel. A picture of a statue is not a statue, nor indeed is a photograph of a painting a painting. Recorded music has particular complications. The organizer of an industrial assembly line is neither an artist nor an artisan. Yet, thanks to such mass production, a much broader population has knowledge of artworks than would otherwise be possible. Religions must minister to mass societies and provide appropriate liturgies. But in the process, there is a danger of misrepresenting complex religious teachings. At the end of his own life, Henri Gouhier, Gilson’s first doctoral student, prepared three essays on Gilson. The first, on Bergson, gives a sense of Gilson’s formation in early twentieth-century French philosophy. The second reconstructs the development of the notion of Christian philosophy and the heated controversy it provoked. Finally, Gouhier presents Gilson’s general philosophy of art and gives a helpful framework to Gilson’s comments on art in a mass society.

A medievalist and defender of the notion of Christian philosophy, Etienne Gilson had a lifelong interest in the philosophy of art. He questioned whether what is reproduced as art in contemporary society is art at all. This is not a simple issue. A cheap version of a novel is still a novel. A picture of a statue is not a statue, nor indeed is a photograph of a painting a painting. Recorded music has particular complications. The organizer of an industrial assembly line is neither an artist nor an artisan. Yet, thanks to such mass production, a much broader population has knowledge of artworks than would otherwise be possible. Religions must minister to mass societies and provide appropriate liturgies. But in the process, there is a danger of misrepresenting complex religious teachings. At the end of his own life, Henri Gouhier, Gilson's first doctoral student, prepared three essays on Gilson. The first, on Bergson, gives a sense of Gilson's formation in early twentieth-century French philosophy. The second reconstructs the development of the notion of Christian philosophy and the heated controversy it provoked. Finally, Gouhier presents Gilson's general philosophy of art and gives a helpful framework to Gilson's comments on art in a mass society.

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This volume poses fundamental questions about the function and relevance of the public sphere, both politically and practically.

This volume traces the modern critical and performance history of this play, one of Shakespeare's most-loved and most-performed comedies. The essay focus on such modern concerns as feminism, deconstruction, textual theory, and queer theory.