Speaking A New Classicism

During the rise of New York from the capital of an upstart nation to a global metropolis, the visual language of Greek and Roman antiquity played a formative role in the development of the city’s art and architecture. This compilation of essays offers a survey of diverse reinterpretations of classical forms in some of New York’s most iconic buildings, public monuments, and civic spaces. Classical New York examines the influence of Greco-Roman thought and design from the Greek Revival of the late eighteenth and early nineteenth centuries through the late-nineteenth-century American Renaissance and Beaux Arts period and into the twentieth century’s Art Deco. At every juncture, New Yorkers looked to the classical past for knowledge and inspiration in seeking out new ways to cultivate a civic identity, to design their buildings and monuments, and to structure their public and private spaces. Specialists from a range of disciplines—archaeology, architectural history, art history, classics, and history— focus on how classical art and architecture are repurposed to help shape many of New York City’s most evocative buildings and works of art. Federal Hall evoked the Parthenon as an architectural and democratic model; the Pantheon served as a model for the creation of Libraries at New York University and Columbia University; Pennsylvania Station derived its form from the Baths of Caracalla; and Atlas and Prometheus of Rockefeller Center recast ancient myths in a new light during the Great Depression. Designed to add breadth and depth to the exchange of ideas about the place and meaning of ancient Greece and Rome in our experience of New York City today, this examination of post-Revolutionary art, politics, and philosophy enriches the conversation about how we shape space—be it civic, religious, academic, theatrical, or domestic—and how we make use of that space and the objects in it.

Until very recently, American universities were led mainly by their faculties, which viewed intellectual production and pedagogy as the core missions of higher education. Today, as Benjamin Ginsberg warns in this eye-opening, controversial book, "deanlets"--administrators and staffers often without serious academic backgrounds or experience--are setting the educational agenda. The Fall of the Faculty examines the fallout of rampant administrative blight that now plagues the nation's universities. In the past decade, universities have added layers of administrators and staffers to their payrolls every year even while laying off full-time faculty in increasing numbers--ostensibly because of budget cuts. Many of the newly minted--and non-academic--administrators are career managers who downplay the importance of teaching and research, as evidenced by their tireless advocacy for a banal "life skills" curriculum. Consequently, students are denied a more enriching educational experience--one defined by intellectual rigor. Ginsberg also reveals how the legitimate grievances of minority groups and liberal activists, which were traditionally championed by faculty members, have, in the hands of administrators, been reduced to chess pieces in a game of power politics. As troubling as this trend has become, there are ways to reverse it. The Fall of the Faculty outlines how we can revamp the system so that real educators can regain their voice in curriculum policy.

Cronk presents a pioneering study of French neoclassical poetics and poetic theory, with emphasis on Platonic influences.

In 'Classical Musicians Speak Out as a New Century Begins', Sidney Smith presents a unique snapshot of eminent musical opinion, clearly illustrating what musicians and composers are thinking at the beginning of the twenty first century. Meticulously researched, Smith draws his conclusions from an host of internationally renowned figures.

This book is an invaluable survey of the allusions to ancient Greek and Roman culture in the work of seven major modern American novelists: Willa Cather, F. Scott Fitzgerald, William Faulkner, Ralph Ellison, Toni Morrison, Philip Roth and Marilynne Robinson.