Bøker av Robert Jensen

It's Debatable: Authentic Discussions about Tricky Topics offers a path toward a deeper, richer public conversation than might seem possible in today’s polarized political climate.It's Debatable: Talking Authentically about Tricky Topics offers a path toward a deeper, richer public conversation than might seem possible in today’s polarized political climate. Robert Jensen writes for those who yearn for debates based on evidence, reason, critical self-reflection, and mutual respect. The book offers a model for how to engage others rationally without discounting the powerful emotional component of our lives; how to think for oneself and at the same time recognize that thinking is a collective enterprise; and how to defend strongly held political positions while inviting critique. It’s Debatable demystifies intellectual life and encourages rigorous thinking by ordinary people, to better equip citizens to participate in political life.Jensen has logged 10 years in journalism and 30 years in academia, along with decades of community organizing in feminism and on the left side of the political fence. As a journalist, he learned to write clearly and concisely. In his teaching career, he got pretty good at explaining complex things to students. In his public speaking and writing, he presented radical ideas in ways that didn’t scare off people. This book draws on all those skills.In polarized times, many people want to step back from the intensity of political disagreements that seem to escalate in a flash, leaving no time for reflection and little room for constructive engagement. Offering a robust defense of freedom of expression, Jensen moves beyond platitudes to articulate intellectual standards that can help us clarify our political disagreements. Then he wades into some of the most contentious debates of our time: the insights of Critical Race Theory in a white-supremacist society, the confused and confusing ideology of transgenderism, and the nearly universal cultural denial of the need for limits to population and consumption. Jensen’s defense of freedom of expression starts with thinking freely, which is a prerequisite to speaking responsibly, which is required for living authentically.

There was nothing out of the ordinary about Jim Koplin. He was just your typical central Minnesota gay farm boy with a Ph.D. in experimental psychology who developed anarchist-influenced, radical-feminist, and anti-imperialist politics, while never losing touch with his rural roots. But perhaps the most important thing about Jim is that throughout his life, almost literally to his dying breath, he spent some part of every day on the most important work we have: tending the garden. Plain Radical is a touching homage to a close friend and mentor taken too soon. But it is also an exploration of the ways in which an intensely local focus paired with a fierce intelligence can provide a deep, meaningful, even radical engagement with the world.

Maintaining political, intellectual, and ethical hope in the heart of the world's most powerful nation.

In this fundamental rethinking of the rise of modernism from its beginnings in the Impressionist movement, Robert Jensen reveals that market discourses were pervasive in the ideological defense of modernism from its very inception and that the avant-garde actually thrived on the commercial appeal of anti-commercialism at the turn of the century. The commercial success of modernism, he argues, depended greatly on possession of historical legitimacy. The very development of modern art was inseparable from the commercialism many of its proponents sought to transcend. Here Jensen explores the economic, aesthetic, institutional, and ideological factors that led to its dominance in the international art world by the early 1900s. He emphasizes the role of the emerging dealer/gallery market and of modernist art historiographies in evaluating modern art and legitimizing it through the formation of a canon of modernist masters. In describing the canon-building of modern dealerships, Jensen considers the new "e;ideological dealer"e; and explores the commercial construction of artistic identity through such rhetorical concepts as temperament and "e;independent art"e; and through such institutional structures as the retrospective. His inquiries into the fate of the juste milieu, a group of dissidents who saw themselves as "e;true heirs"e; of Impressionism, and his look at a new form of art history emerging in Germany further expose a linear, dealer- oriented history of modernist art constructed by or through the modernists themselves.