Atwood’s longtime literary agent, Phoebe Larmore, told me of seeing Atwood during the writing of “The Handmaid’s Tale.”
The CDs, recorded the same week, have Jennifer Larmore giving an all-out portrayal of the Virgin Queen, with the men in her life given sterling voice by Bruce Ford, as Leicester, and Antonino Siragusa—a young Italian tenor to watch—as Norfolk.
Most would not want to live in such a community, and this suggests that we do indeed place some independent value on non-interference (Larmore 2001; Wall 2001).
This strategy is used (explicitly or implicitly) by McDowell (1979), Nagel (1979), Larmore (1987), Skorupski (1996), Anderson (1993 and 1997) Wiggins (1997 and 1998), Chappell (1998), Swanton (2003).
Further reading: On Descartes’ sceptical arguments, see Bouwsma (1949), Cunning (2014), Curley (1978), Hatfield (2006), Larmore (2014), Newman (1994), Newman and Nelson (1999), Williams (1986 and 1995).
The well-known problem with a moralized definition of arbitrariness is that it would collapse our conception of republican freedom into a general account of the human good (Larmore 2001; Costa 2007; Carter 2008).
Will Crutchfield’s Bel Canto at Caramoor festival offers stagings of Verdi’s two French grand operas: “Les Vêpres Siciliennes” (with Angela Meade, on July 6) and “Don Carlos” (featuring Jennifer Larmore, on July 20).
On methodical doubt: for Descartes’ treatment, see Rules, Discourse, First Meditation, and Seventh Replies; by commentators, see Frankfurt (1970), Garber (1986), Larmore (2014), Newman (2006), Williams (1983), and Wilson (1978).
He conducts his Manhattan Philharmonic and the Russian Chamber Chorus of New York in a concert version starring the mezzo-soprano Jennifer Larmore (in the travesti title role) and Eilana Lappalainen, part of an evening that will also include performances of arias and scenes from operas by Verdi, Donizetti, and Cilea.
Writers do not always make the distinction between foundational and other forms of pluralism, but as well as Thomson and Ross, at least Bernard Williams (1981), Charles Taylor (1982), Charles Larmore (1987), John Kekes (1993), Michael Stocker (1990 and 1997), David Wiggins (1997) and Christine Swanton (2001) are all committed to foundational pluralism.
Charles Larmore (2008, 203–7) traces Rawls’s idea of public reason as arising from his concerns about publicity and in his recent study of Rawls’s Political Liberalism, Paul Weithman (2011, 242) shows that publicity helps to educate a society about the basis of its political views that is crucial for maintaining a society as stable for the right reasons.
The authors owe thanks to a group that met in Berlin in July, 2014, to discuss a draft of this entry, including Dina Emundts, Eckart Förster, Gunnar Hindrichs, Charles Larmore, Paul Redding, Robert Stern, and Tobias Rosefeldt; we owe special thanks to Larmore for his numerous and detailed comments on that draft and to Stern for his generous assistance with the bibliography.
But to offer a production of “The Rake’s Progress,” well known at the Met, would be too obvious—hence the arrival of Sergey Taneyev’s formidable “Oresteia,” from 1895 (performed July 26-Aug. 4), a piece that Stravinsky admired and that prefigures the twentieth-century master’s penchant for subjects from classical antiquity, a topic further explored in the Bard performances of Stravinsky’s “Perséphone” and “Oedipus Rex” (Aug. 18), featuring such standout singers as Jennifer Larmore and John Relyea.
This approach has been criticized on the basis that such skepticism itself constitutes a sectarian view, and therefore is not neutral (Larmore 1987, Mendus 2002) However, as Barry points out, the decisive issue is not whether some people would reject skepticism, but whether it can reasonably be rejected – and given Barry’s definition of skepticism, its claim to resist being so rejected seems considerably stronger than the claims of the various conceptions of the good themselves, which must indeed be excluded from the public sphere.
Typically public justification has been grounded in (i) respect for persons as free and equal (Larmore 2008; for criticism, see Eberle 2002, Gaus 2011 and Van Schoelandt 2015), but we also find attempts to ground the PJP in (ii) an analysis of the nature of rationality and morality (Habermas 1996), (iii) the requirements of justice (Rawls 2005; Quong 2013), (iv) the value of civic friendship (Lister 2013; Ebels-Duggan 2010; Leland and Wietmarschen 2017; for criticism, see Billingham 2016), (v) the avoidance of authoritarianism and the preservation of moral relations between persons (Gaus 2011; for criticism, see Enoch 2013).
On this page, there are 16 sentence examples for Larmore. They are all from high-quality sources and constantly processed by lengusa's machine learning routines.
Just use the " " button to fragment sentence examples and start your learning flow.
Example output from one of your searches:
Typically public justification has been grounded in i respect for persons as free and equal Larmore 2008 for criticism see Eberle 2002 Gaus 2011 and Van Schoelandt 2015 but we also find attempts to ground the PJP in ii an analysis of the nature of rationality and morality Habermas 1996 iii the requirements of justice Rawls 2005 Quong 2013 iv the value of civic friendship Lister 2013 Ebels-Duggan 2010 Leland and Wietmarschen 2017 for criticism see Billingham 2016 v the avoidance of authoritarianism and the preservation of moral relations between persons Gaus 2011 for criticism see Enoch 2013