Marxist analyses tend to presuppose European models of history and experience that downplay the significance of Black people and Black communities as agents of change and resistance. Black radicalism, Robinson argues, must be linked to the traditions of Africa and the unique experiences of Blacks on Western continents, and any analyses of African American history need to acknowledge this. To illustrate his argument, Robinson traces the emergence of Marxist ideology in Europe, the resistance by Blacks in historically oppressive environments, and the influence of both of these traditions on such important twentieth-century Black radical thinkers as W. E. B. Du Bois, C. L. R. James, and Richard Wright. This revised and updated third edition includes a new preface by Tiffany Willoughby-Herard, and a new foreword by Robin D. G. Kelley.

    Marxist analyses tend to presuppose European models of history and experience that downplay the significance of black people and black communities as agents of change and resistance. Black radicalism must be linked to the traditions of Africa and the unique experiences of blacks on western continents, Robinson argues, and any analyses of African American history need to acknowledge this.To illustrate his argument, Robinson traces the emergence of Marxist ideology in Europe, the resistance by blacks in historically oppressive environments, and the influence of both of these traditions on such important twentieth-century black radical thinkers as W. E. B. Du Bois, C. L. R. James, and Richard Wright.

    First published in the 1980s by activists with decades of experience organizing in grassroots anticapitalist struggles against white supremacy, the book soon established itself as an essential reference point for revolutionary nationalists and dissident currents within the predominantly colonialist Marxist-Leninist and anarchist movements at that time.Always controversial within the establishment Left Settlers uncovers centuries of collaboration between capitalism and white workers and their organizations, as well as their neocolonial allies, showing how the United States was designed from the ground up as a parasitic and genocidal entity. Settlers exposes the fact that America’s white citizenry have never supported themselves but have always resorted to exploitation and theft, culminating in acts of genocide to maintain their culture and way of life. As recounted in painful detail by Sakai, the United States has been built on the theft of Indigenous lands and of Afrikan labor, on the robbery of the northern third of Mexico, the colonization of Puerto Rico, and the expropriation of the Asian working class, with each of these crimes being accompanied by violence.This new edition includes “Cash & Genocide: The True Story of Japanese-American Reparations” and an interview with author J. Sakai by Ernesto Aguilar.Please note that none of the illustrations from the paperback edition are included in the digital version.

    In this widely acclaimed work, Benedict Anderson examines the creation and global spread of the 'imagined communities' of nationality.Anderson explores the processes that created these communities: the territorialization of religious faiths, the decline of antique kingship, the interaction between capitalism and print, the development of vernacular languages-of-state, and changing conceptions of time. He shows how an originary nationalism born in the Americas was modularly adopted by popular movements in Europe, by the imperialist powers, and by the anti-imperialist resistances in Asia and Africa.This revised edition includes two new chapters, one of which discusses the complex role of the colonialist state's mindset in the develpment of Third World nationalism, while the other analyses the processes by which, all over the world, nations came to imagine themselves as old.

    He finds cynicism the dominant mode in contemporary culture, in personal and institutional settings; his book is both a history of the impulse and an investigation of its role today, among those whose earlier hopes for social change have crumbled and faded away.

    The history of thought is the analysis of the way an unproblematic field of experience becomes a problem, raises discussions and debate, incites new reactions, and induces crisis in the previously silent behaviors, practices, and institutions. It is the history of the way people become anxious, for example, about madness, about crime, about themselves, or about truth.Comprised of six lectures delivered, in English, by Michel Foucault while teaching at Berkeley in the Fall of 1983, Fearless Speech was edited by Joseph Pearson and published in 2001. Reviewed by the author, it is the last book Foucault wrote before his death in 1984 and can be read as his last testament. Here, he positions the philosopher as the only person able to confront power with the truth, a stance that boldly sums up Foucault’s project as a philosopher.Still unpublished in France, Fearless Speech concludes the genealogy of truth that Foucault pursued throughout his life, starting with his investigations in Madness and Civilization, into the question of power and its technology. The expression “fearless speech” is a rough translation of the Greek parrhesia, which designates those who take a risk to tell the truth; the citizen who has the moral qualities required to speak the truth, even if it differs from what the majority of people believe and faces danger for speaking it.Parrhesia is a verbal activity in which a speaker expresses his personal relationship to truth through frankness instead of persuasion, truth instead of flattery, and moral duty instead of self-interest and moral apathy.Michel Foucault (1926–84) is widely considered to be one of the most influe

    Ricoeur here examines the creation of meaning at the textual level, with narrative rather than metaphor as the ruling concern.Ricoeur finds a "healthy circle" between time and narrative: time is humanized to the extent that it portrays temporal experience. Ricoeur proposes a theoretical model of this circle using Augustine's theory of time and Aristotle's theory of plot and, further, develops an original thesis of the mimetic function of narrative. He concludes with a comprehensive survey and critique of modern discussions of historical knowledge, understanding, and writing from Aron and Mandelbaum in the late 1930s to the work of the Annales school and that of Anglophone philosophers of history of the 1960s and 1970s."This work, in my view, puts the whole problem of narrative, not to mention philosophy of history, on a new and higher plane of discussion."—Hayden White, History and Theory "Superb. . . . A fine point of entrance into the work of one of the eminent thinkers of the present intellectual age."—Joseph R. Gusfield, Contemporary Sociology

    For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.

    

    for understanding the basic, early and continuing perspectives of feminists. And for all of us they provide a theoretical framework in which to read the present as well as the past." - WOMEN'S REVIEW OF BOOKS"The style is both scholarly and direct without being ponderous. Frye makes a concerted effort to stimulate discussion, as opposed to arguing unopposed, so that much of the work is novel and candid... An important addition to a complete feminist library." - CHOICE"Only those who wish to remain ignorant of contemporary feminist themes, pursued here by a thinker of an unusual cast of mind, can afford to neglect a careful reading on the essays collected in the present volume." - ETICHS, AN INTERNATIONAL JOURNAL OF SOCIAL, POLITICAL AND LEGAL PHILOSOPHY"This is radical feminist theory at its best: clear, careful and critical." - SIGNS

    Author of Beginnings and the controversial Orientalism, Edward Said demonstrates that modern critical discourse has been impressively strengthened by the writings of Jacques Derrida and Michel Foucault, for example, and by such influences as Marxism, structuralism, linguistics, and psychoanalysis. He argues, however, that the various methods and schools have had a crippling effect through their tendency to force works of literature to meet the requirements of a theory or system, ignoring the complex affiliations binding the texts to the world.The critic must maintain a distance both from critical systems and from the dogmas and orthodoxies of the dominant culture, Said contends. He advocates freedom of consciousness and responsiveness to history, to the exigencies of the text, to political, social, and human values, to the heterogeneity of human experience. These characteristics are brilliantly exemplified in his own analyses of individual authors and works.Combining the principles and practice of criticism, the book offers illuminating investigations of a number of writers--Swift, Conrad, Lukacs, Renan, and many others--and of concepts such as repetition, originality, worldliness, and the roles of audiences, authors, and speakers. It asks daring questions, investigates problems of urgent significance, and gives a subtle yet powerful new meaning to the enterprise of criticism in modern society.

    Finding inspiration as much in the forces of nature as in ancient epics and legends, and using the simplest of media--pencils, ballpoint pens, crayons, wall paint--he creates poetic and archaic worlds, usually in series and often as collages. The 84 drawings in this retrospective, organized by the State Hermitage Museum, St. Petersburg, in 2003 to mark Twombly's 75th birthday, were collected from the artist's studio, and many had not been previously exhibited. Dating between 1953 and 2002, the works embrace the entire career of one of the most important American artists alive today, from the early monotypes to the major mythological cycles of later years, revealing the many nuances of his aesthetic approach. This revised and expanded edition of the catalogue, created on the occasion of the presentation of Cy Twombly: Fifty Years of Works on Paper at the Whitney Museum of American Art, New York, includes an essay by Simon Schama, as well as a new text by curator Julie Sylvester. Roland Barthes's classic 1976 essay Non Multa Sed Multum and a foreword by the Whitney's director, Adam D. Weinberg. Comprehensive biographical notes and a selected exhibition history and bibliography have also been added to this edition.Julie Sylvester is Associate Curator of Contemporary Art of the State Hermitage Museum, St. Petersburg, and is the Hermitage's first non-Russian curator. She is the author of John Chamberlain A Catalogue Raisonne of the Sculpture. Cy Twombly at the Hermitage was the second major contemporary exhibition in the history of the State Hermitage Museum.British historian Simon Schama has written numerous award-winning books on the cultural histories of countries including Holland and France, and is the author of the three-volume History of Britain. He is currently a professor at Columbia University, New York.

    An analysis of the medium in terms of aesthetics, science and politics provided him with new ways of understanding both the cultural crises of the past and the new social forms nascent within them. Flusser showed how the transformation of textual into visual culture (from the linearity of history into the two-dimensionality of magic) and of industrial into post-industrial society (from work into leisure) went hand in hand, and how photography allows us to read and interpret these changes with particular clarity.

    A new foreword by Matti Bunzl brings the influence of Fabian's study up to the present.Time and the Other is a critique of the notions that anthropologists are "here and now," their objects of study are "there and then," and that the "other" exists in a time not contemporary with our own.

    The refreshingly practical nature of these designs clearly reflects a responsiveness to external forces and to human needs and inspires both a rational approach to construction and an appreciation of the built environment.In hundreds of pen-and-ink sketches, on subjects ranging from solar heating to stairways, the author gives a detailed introduction to the many lessons indigenous architecture offers about creating practical buildings that make efficient and economical use of material, capital, and human resources while working with natural forces rather than trying to overpower them.

    Instead, Blumenberg argues, the idea of progress always implies a process at work within history, operating through an internal logic that ultimately expresses human choices and is legitimized by human self-assertion, by man's responsibility for his own fate.

    Rogin argues that a history of Melville's fiction, and of the society represented in it, is also a history of the writer's family. He describes how that family first engaged Melville in and then isolated him from American political and social life. Melville's brother and father-in-law are shown to link Moby-Dick to the crisis over expansion and slavery. White-Jacket and Billy Budd, which concern shipboard conflicts between masters and seamen, are related to an execution at sea in which Melville's cousin played a decisive part. The figure of Melville's father haunts The Confidence Man, whose subject is the triumph of the marketplace and the absence of authority."This book," Rogin writes, "makes several claims which ought to be stated at the outset:• "that Herman Melville is a recorder and interpreter of American society whose work is comparable to that of the great 19th-century European realists; • "that there was a crisis of bourgeois society at midcentury on both continents, but that in America it entered politics by way of slavery and race rather than class; • "that the crisis called into question the ideal realm of liberal political freedom; • "that Melville was particularly sensitive to the American crisis because of the political importance of his clan and the political history of his family; • "that a study of Melville's fiction, and of the society refracted through it, must also be a history of Melville's family, and of the writer's relation to his kin; • "and finally, that Melville rendered American history symbolically, so that a history of his fiction, his family, and his psyche is also a history of the development and displacement of major symbols in his work."

    Among her many writings are three books (with a projected fourth) in which she challenges the Western tradition’s construals of human beings’ relations to the four elements—earth, air, fire, and water—and to nature. In answer to Heidegger’s undoing of Western metaphysics as a "forgetting of Being," Irigaray seeks in this work to begin to think out the Being of sexedness and the sexedness of Being. This volume is the first English translation of L’oubli de l’air chez Martin Heidegger (1983). In this complex, lyrical, meditative engagement with the later work of the eminent German philosopher, Irigaray critiques Heidegger’s emphasis on the element of earth as the ground of life and speech and his "oblivion" or forgetting of air. With the other volumes (Elemental Passions and Marine Lover of Friedrich Nietzsche) in Irigaray’s "elemental" series, The Forgetting of Air offers a fundamental rereading of basic tenets in Western metaphysics. And with its emphasis on dwelling and human habitation, it will be important reading not only in the humanities but also in architecture and the environmental sciences.

    She defines current structures of thought and patterns of organizing reality, clearly distinguishes them from previously reigning Hellenic modes of abstract thought, and connects them with important elements of the Rabbinic interpretive tradition. Hers is the first comprehensive treatment of the undeniable, and undeniably significant, influence of Jewish religious thought on contemporary literary criticism. Dr. Handelman shows how they provide a crucial link among several of the most influential modern theories of textual interpretation, from Freud to the Deconstructionist School of Lacan and Derrida, as well as current literary theorists who revive Rabbinic hermeneutics, such as Harold Bloom and Geoffrey Hartman.

    It marks out lines of descent, identifies shifts in modes of narrative representation, considers literary changes in relation to the larger society, and thus offers the reader with a view of the novel not only in itself but also in history.

    Dutton, 1982.

    With a new introduction by the author.

    With an introduction by Steve Clark.

    S. Mill characterised as 'the German or a priori view of human knowledge'. Yet apart from selective attention to individual figures, such as Nietzsche, Schopenhauer, Husserl or Heidegger, little is known by English-speaking philosophers of most of the animating concerns and continuing traditions of German philosophy of the time. This book sets out to present a detailed history of the period, adopting a thematic approach which emphasises the more distinctive German approach. It is hoped that the growing but piecemeal interest in German philosophy will be both stimulated and consolidated by this book, which should also interest individuals working in related areas such as the history of ideas, religious studies and the history of science.

    This important book, which won the 1984 Alice Davis Hitchcock Award, traces the process by which the mystical and numerological grounds for the use of number and geometry in building gave way to the more functional and technical ones that prevail in architectural theory and practice today. Throughout, it relates the major architectural treatises of successive generations to the larger culture and the writings of philosophers, mathematicians, scientists, and engineers.The book leads the reader through the controversy that was generated by Claude Perrault in the seventeenth century. His writings began to cast doubt on the absolute aesthetic value of the classical orders and the perfect proportions that were architecture's legacy from Pythagorean times. Thus the once immutable invisible system lost its special status forever. The book focuses in particular on eighteenth-century developments in the science of mechanics and emerging techniques in structural analysis which slowly entered the architectural treatises and found their way into practice, often by way of civil and military engineers. And by the nineteenth century, the book notes, even architectural rendering and drawing were radically changed through the introduction of new descriptive and projective geometries.Tracing these fundamental changes in architectural intentions, P�rez-G�mez challenges many popular misconceptions about the theory and history of modern architecture. At the same time, he suggests an intangible loss, that of a culture's power to express through a building its total mathematical, mystical, and magical world-view.

    "Between the lines of the following pages you should be able to hear the voices of Whigs and Tories, Goldwater Republicans and New Deal Democrats, orthodox and maverick Marxists, utopian socialists and third world Maoists, masculists and feminists, wishy-washy liberals and committed revolutionaries....Mitchell introduces a collection of essays exploring the proposition that criticism and interpretation have a deep and complex relationship with politic-that the arts of explanation and understanding are inseparable from the structures of power and social value that organize human life."