Tout commence avec la découverte fortuite, à Jérusalem, d’une crypte vieille de près de deux mille ans et abritant dix ossuaires. Les archéologues dépêchés sur place se sont contentés de répertorier les artefacts, et ont mis sur le compte de la coïncidence les noms stupéfiants gravés sur les coffrets en pierre. …
Americans pride themselves on being doers rather than thinkers. Ideas are naturally suspect to such a people. But ideas are at the root of what it means to be American, and today’s habits of thought practiced by citizens throughout the United States are the lineal descendants of a powerful body of ideas that traces back to the first European settlers and that was enriched by later generations of American thinkers.
Behind this nation’s diverse views on religion, education, social equality, democracy, and other vital issues is a long-running intellectual debate about the right ordering of the human, natural, and divine worlds.
In their own times such great thinkers as Jonathan Edwards, Thomas Jefferson, Abraham Lincoln, William James, Martin Luther King, Jr., and many others engaged in lively and often contentious debate that helped mold America’s institutions and attitudes. Their approach was frequently honed by ideas from abroad—from Locke, Hume, Kant, Darwin, Marx, Freud, and Gandhi, among others.
This immensely stimulating conversation that made the U.S. what it is today is the subject of The American Mind, a series of 36 lectures that offers you a broad survey of American intellectual history.
A limited guitar player at best, and with a voice that hardly spans a couple of octaves, Leonard Cohen has nonetheless fashioned a legacy of gorgeously realized songs that reach deep into the heart of lust, ill- and well-fated romance, hope, and redemption, and if he doesn't sing like an angel, he could certainly mesmerize one with the melody, lilt, and power of his songs…
Haydn's Sinfonia Concertante in B flat major for violin, cello, oboe, and bassoon, Hob. 1/105, is among his most recorded works, and among his most utterly joyful. But it has rarely reached the heights of ebullience achieved in this historical-instrument reading by the small British ensemble Arcangelo and its conductor, Jonathan Cohen. The list of things to be enthusiastic about is long, but it begins with the differentiation of the instruments in the solo passages, with the period oboe and bassoon of Alfredo Bernardini and Peter Whelan, respectively, having the depth of texture to stand up to the brilliant Stradivarius violin and Guarneri cello of Ilya Gringolts (a renowned soloist in his own right) and Nicolas Altstaedt.