Download Jimmy Buffett and Philosophy: The Porpoise Driven Life by Erin McKenna, Scott L. Pratt PDF
By Erin McKenna, Scott L. Pratt
Jimmy Buffett and his track have touched the lives of thousands of individuals around the globe, spanning generations and genres. yet is Buffett's tune only a sturdy time, or is there a deeper point to it? Jimmy Buffett and Philosophy indicates the philosophical part of this self-proclaimed non-philosopher's paintings. The articles during this booklet offer an available method of pondering Buffett's tune philosophically and to wondering philosophy from the viewpoint of Jimmy Buffett's tune. alongside the best way, questions are raised approximately figures within the philosophical culture from historic to modern — Epicurus, Diogenes, Heidegger, Josiah Royce, William James, John Dewey, and Judith Butler. moreover, questions on quite a lot of conventional philosophical concerns, together with aesthetic conception, identification, wisdom, tradition, and being, are explored.
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Additional info for Jimmy Buffett and Philosophy: The Porpoise Driven Life (Popular Culture and Philosophy)
Sample text
12 It is striking how important it was to the best directors to express a creed in which they consulted everybody on the set, right down to the lowliest technician. And it is equally striking how their devotion to that creed is supported by the technicians themselves, who, time and time again, report being consulted for their opinion. Being a successful director represented a balancing act in which one strove for as much independence as possible from the studio while, at the same time, taking advantage of the enormous resources the studio offered.
They argued that there was more life in Hollywood films, despite their commercial aims, than in “tradition of quality” French films that aimed for a more artistic flair but, in the end, only made film look like second-rate literature. French film criticism of the fifties represents one of the most fertile periods in Hollywood criticism, because it appreciated Hollywood not for its sociological relevance or for its pale reflection of the other arts but for its own aesthetics, its own rhythms and structures.
The most famous example of this gap between the French intellectual and the average American filmgoer is the case of Jerry Lewis. The French appreciation of Jerry Lewis has been so often remarked upon that it has become one of the reference points for a certain lazy tendency that has developed in American culture in the last 20 years or so to denigrate the French character in general. The French, particularly the critics at Positif, saw in Lewis’s first five or six directorial efforts a wonderful send-up of the materialism and worship of technology in American culture in the early 1960s.