30 Rock and Philosophy: We Want to Go to There (The by J. Jeremy Wisnewski

By J. Jeremy Wisnewski

A desirable exploration of the philosophy at the back of NBC's hit television sequence, 30 Rock

With edgy writing and an outstanding forged, 30 Rock is without doubt one of the funniest tv indicates at the air--and the place hilarity ensues, philosophical questions abound: Are Liz Lemon and Jack Donaghy moral heroes? Kenneth redefines "goody shoes", yet what does it rather suggest to be strong? Dr. Leo Spaceman generally demonstrates that drugs isn't a technology, so what's the position of the incompetent specialist in the United States today?

In 30 Rock and Philosophy, Tina Fey and her fellow forged participants are thrust onto the philosophical level with Plato, Aristotle, Kantand different nice thinkers to check those key questions and so forth that contain the characters and plotlines of 30 Rock and its fictional TGS with Tracy Jordan comedy show.

Takes an pleasing, up-close examine the philosophical matters in the back of 30 Rock's characters and storylines, from post-feminist beliefs to workaholism and the which means of life

Equips you with a brand new knowing of Liz Lemon, Jack Donaghy, Tracy Jordan, Jenna Maroney, Dr. Spaceman, and different characters

promises deep and significant new purposes (who knew?) for observing Tina Fey and your different favorites on 30 Rock

perfect for either informal and diehard lovers, this e-book is the basic significant other for each 30 Rock­-watcher.

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Extra resources for 30 Rock and Philosophy: We Want to Go to There (The Blackwell Philosophy and Pop Culture Series)

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Fra Angelico was somewhat conservative in style and exceptional in his day in nearly always painting saints with halos and angels with wings and halos. At the turn of the sixteenth century, the Renaissance reaches the height of its technical brilliance. It is interesting that two of the masters of the high Renaissance, Raphael Sanzio (1483 1520) and Michelangelo Buonarroti (1475 1564), were both named after angels. With these painters the natural expression of form, posture, colour, and emotion were per fected to such a degree that the art itself, rather than the religious subject matter, seemed to have become the real focus.

Books with titles such as Angel Therapy are shaped by ideas from Christianity and Judaism, even if the original context is no longer explicit. The very term ‘angel’ in English carries a great cultural heritage shaped by Christianity. Many of the doctrines found in these new age writings are expli citly taken from Jewish sources, especially the Cabala. So it is appropriate to use the same word for these angels. Neverthe less, arguably these new age books suffer from isolating the angels from their original context.

The Angel of the North in Gateshead in the north of England stands 66 feet (20 metres) tall, with wings measuring 178 feet (54 metres) across: a wingspan wider than the Statue of Liberty is tall. It was cast from 200 tonnes of steel, an industrial angel to celebrate an area whose greatness had once been based on heavy industry. Like Klee’s angel, the Angel of the North is immediately recognizable, though the form is very simple, with no facial features, no halo, and with wings for arms. There is in these twentieth century representations a return from natural ism to the symbolic.

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