Video / Audio

New Books in the Arts and Sciences at Columbia University: a podcast featuring audio from the New Books Series at Columbia University and interviews with the speakers and authors. This podcast features Spirit in the Dark: A Religious History of Racial Aesthetics by Josef Sorett.

New Books in the Arts and Sciences at Columbia University: a podcast featuring audio from the New Books Series at Columbia University and interviews with the speakers and authors. This podcast features The Ink of the Scholars: Reflections on Philosophy in Africa by Souleymane Bachir Diagne.

New Books in the Arts and Sciences at Columbia University: a podcast featuring audio from the New Books Series at Columbia University and interviews with the speakers and authors. This podcast features Europe’s Functional Constitution: A Theory of Constitutionalism beyond the State by Turkuler Isiksel.

New Books in the Arts and Sciences at Columbia University: a podcast featuring audio from the New Books Series at Columbia University and interviews with the speakers and authors. This podcast features The Seasons Alter by Philip Kitcher and Evelyn Fox Keller.

New Books in the Arts and Sciences at Columbia University: a podcast featuring audio from the New Books Series at Columbia University and interviews with the speakers and authors. This podcast features Anna Karenina and Others: Tolstoy’s Labyrinth of Plots by Liza Knapp.

New Books in the Society of Fellows: Celebrating Recent Work by David Russell and Emily Ogden

New Books in the Arts and Sciences at Columbia University: a podcast featuring audio from the New Books Series at Columbia University and interviews with the speakers and authors. This podcast features How Russia Learned to Write: Literature and the Imperial Table of Ranks by Irina Reyfman.

This book focuses on six brilliant women who are often seen as particularly tough-minded: Simone Weil, Hannah Arendt, Mary McCarthy, Susan Sontag, Diane Arbus, and Joan Didion. Aligned with no single tradition, they escape straightforward categories. Yet their work evinces an affinity of style and philosophical viewpoint that derives from a shared attitude toward suffering. What Mary McCarthy called a “cold eye” was not merely a personal aversion to displays of emotion: it was an unsentimental mode of attention that dictated both ethical positions and aesthetic approaches.