The Best 11 Books on Philip A. Fisher
How should we live? What do we owe to other people? In Goodness and Advice, the eminent philosopher Judith Jarvis Thomson explores how we should go about answering such fundamental questions. In doing so, she makes major advances in moral philosophy, pointing to some deep problems for influential moral theories and describing the structure of a new and much more promising theory.
Thomson begins by lamenting the prevalence of the idea that there is an unbridgeable gap between fact and value--that to say something is good, for example, is not to state a fact, but to do something more like expressing an attitude or feeling. She sets out to challenge this view, first by assessing the apparently powerful claims of Consequentialism. Thomson makes the striking argument that this familiar theory must ultimately fail because its basic requirement--that people should act to bring about the "most good"--is meaningless. It rests on an incoherent conception of goodness, and supplies, not mistaken advice, but no advice at all.
Thomson then outlines the theory that she thinks we should opt for instead. This theory says that no acts are, simply, good: an act can at most be good in one or another way--as, for example, good for Smith or for Jones. What we ought to do is, most importantly, to avoid injustice; and whether an act is unjust is a function both of the rights of those affected, including the agent, and of how good or bad the act is for them. The book, which originated in the Tanner lectures that Thomson delivered at Princeton University's Center for Human Values in 1999, includes two chapters by Thomson ("Goodness" and "Advice"), provocative comments by four prominent scholars--Martha Nussbaum, Jerome Schneewind, Philip Fisher, and Barbara Herrnstein Smith--and replies by Thomson to those comments.
Why pause and study this particular painting among so many others ranged on a gallery wall? Wonder, which Descartes called the first of the passions, is at play; it couples surprise with a wish to know more, the pleasurable promise that what is novel or rare may become familiar. This is a book about the aesthetics of wonder, about wonder as it figures in our relation to the visual world and to rare or new experiences.
In three instructive instances--a pair of paintings by Cy Twombly, the famous problem of doubling the area of a square, and the history of attempts to explain rainbows--Philip Fisher examines the experience of wonder as it draws together pleasure, thinking, and the aesthetic features of thought. Through these examples he places wonder in relation to the ordinary and the everyday as well as to its opposite, fear. The remarkable story of how rainbows came to be explained, fraught with errors, half-knowledge, and incomplete understanding, suggests that certain knowledge cannot be what we expect when wonder engages us. Instead, Fisher argues, a detailed familiarity, similar to knowing our way around a building or a painting, is the ultimate meeting point for aesthetic and scientific encounters with novelty, rare experiences, and the genuinely new.
In Making and Effacing Art, Philip Fisher charts the pivotal role the museum has played in modern culture, revealing why the museum has become central to industrial society and how, in turn, artists have adapted to the museum's growing power, shaping their works with the museum in mind. For instance, Fisher contends that just as a medieval sculptor would link a statue stylistically to the cathedral it would adorn, the modern artist creates his work to mirror its ultimate destination, the museum. Using Jasper Johns' Divers (1962) as an example, he shows how this painting is almost like distinct works placed side by side, that is, Divers is itself a wall of paintings that mirror the wall of paintings in a museum gallery. He also points out that artists such as Frank Stella create sequences within their own work to echo one of the museum's main functions, the sequential ordering of styles. In addition, Fisher includes an extensive discussion of the function of the museum in industrialized society (as the organization mediating between the realm of technology and that of art making and consumption) and he describes a major shift in both the theory and practice of the visual arts, which he argues have been brought about ultimately by the processes of modern technological production. Along the way, he offers insightful commentary on the work of major artists including Jasper Johns, Frank Stella, Degas, Picasso, Klee, Jackson Pollock, Robert Rauschenberg, and many others.
Vividly illustrated with numerous halftones and 14 color plates, Making and Effacing Art is an important contribution to our understanding of modern art and culture.
Breaking off the ordinary flow of experience, the passions create a state of exception. In their suddenness and intensity, they map a personal world, fix and qualify our attention, and impel our actions. Outraged anger drives us to write laws that will later be enforced by impersonal justice. Intense grief at the death of someone in our life discloses the contours of that life to us. Wonder spurs scientific inquiry.
The strong current of Western thought that idealizes a dispassionate world has ostracized the passions as quaint, even dangerous. Intense states have come to be seen as symptoms of pathology. A fondness for irony along with our civic ideal of tolerance lead us to prefer the diluted emotional life of feelings and moods. Demonstrating enormous intellectual originality and generosity, Philip Fisher meditates on whether this victory is permanent-and how it might diminish us.
From Aristotle to Hume to contemporary biology, Fisher finds evidence that the passions have defined a core of human nature no less important than reason or desire. Traversing the Iliad, King Lear, Moby Dick, and other great works, he discerns the properties of the high-spirited states we call the passions. Are vehement states compatible with a culture that values private, selectively shared experiences? How do passions differ from emotions? Does anger have an opposite? Do the passions give scale, shape, and significance to our experience of time? Is a person incapable of anger more dangerous than someone who is irascible?
In reintroducing us to our own vehemence, Fisher reminds us that it is only through our strongest passions that we feel the contours of injustice, mortality, loss, and knowledge. It is only through our personal worlds that we can know the world.
In this bold reinterpretation of American culture, Philip Fisher describes generational life as a series of renewed acts of immigration into a new world. Along with the actual flood of immigrants, technological change brings about an immigration of objects and systems, ways of life and techniques for the distribution of ideas.
A provocative new way of accounting for the spirit of literary tradition, Still the New World makes a persuasive argument against the reduction of literature to identity questions of race, gender, and ethnicity. Ranging from roughly 1850 to 1940, when, Fisher argues, the American cultural and economic system was set in place, the book reconsiders key works in the American canon--from Emerson, Whitman, and Melville, to Twain, James, Howells, Dos Passos, and Nathanael West, with insights into such artists as Winslow Homer and Thomas Eakins. With striking clarity, Fisher shows how these artists created and recreated a democratic poetics marked by a rivalry between abstraction, regionalism, and varieties of realism--and in doing so, defined American culture as an ongoing process of creative destruction.
Regarded as one of the pioneers of modern investment theory, Philip A. Fisher's investment principles are studied and used by contemporary finance professionals including Warren Buffett. Fisher was the first to consider a stock's worth in terms of potential growth instead of just price trends and absolute value. His principles espouse identifying long-term growth stocks and their emerging value as opposed to choosing short-term trades for initial profit. Now, for the first time ever, Philip Fisher Investment Classics brings together four classic titles, written by the man who is know as the "Father of Growth Investing."
- Common Stocks and Uncommon Profits was the first investing book to reach the New York Times bestseller list. Outlining a 15-step process for identifying profitable stocks, it is one of the most influential investing books of all time
- Paths to Wealth Through Common Stocks, expands the innovative ideas in Fisher's highly regarded Common Stocks and Uncommon Profits, and explores how profits have been, and will continue to be made, through common stock ownership—asserting why this method can increase profits and reduce risk
- Also included is Conservative Investors Sleep Well and Developing an Investment Philosophy
Designed with the serious investor in mind, Philip Fisher Investment Classics puts the insights of one of the greatest investment minds of our time at your fingertips.