Joseph R Phelan
Joseph Phelan retired from the National Endowment for the Humanities after three decades. He worked on the Bicentennial of the Constitution initiative at NEH in the 1980’s, on the EDSITEment program, and as a program officer.
He was the founding editor of Artcyclopedia and the arts editor for the InTowner. His articles have appear in the New Criterion, the Weekly Standard, Washington Times, Claremont Review of Books, the Imaginative Conservative and the American Conservative.
For ten years he taught at the University of Maryland University College. He is especially interested in the history of political philosophy, American political thought, and the history of Western Art.
He was the founding editor of Artcyclopedia and the arts editor for the InTowner. His articles have appear in the New Criterion, the Weekly Standard, Washington Times, Claremont Review of Books, the Imaginative Conservative and the American Conservative.
For ten years he taught at the University of Maryland University College. He is especially interested in the history of political philosophy, American political thought, and the history of Western Art.
less
InterestsView All (26)
Uploads
Papers by Joseph R Phelan
Konchalovsky about Michelangelo. Set in the period after the completion of the Sistine Chapel ceiling, the film, “Sin,” paints a rounded characterization of Michelangelo rather than the hoary cliché of the solitary misanthropic genius holed up in his studio. This episode of the artist’s career has never been so dramatically or so convincingly
Konchalovsky about Michelangelo. Set in the period after the completion of the Sistine Chapel ceiling, the film, “Sin,” paints a rounded characterization of Michelangelo rather than the hoary cliché of the solitary misanthropic genius holed up in his studio. This episode of the artist’s career has never been so dramatically or so convincingly
The famous speech has three parts: (1) praise for the principles of the Declaration of Independence, and the Founders, (2) denunciation of the present hypocritical state of America in regard to slavery, (3) reasons for optimism. Most versions of the speech only focus on (2) which reduces the speech to a kind of rant, albeit a powerful one, and Douglass to the cliche of the "angry black man." Douglass was a pragmatist who wanted to effect change by guiding the abolitionist movement and its supporters to a more positive course of action than that of his mentor and collaborator, William Lloyd Garrison.