bell hooks writes about the meaning of feminist consciousness in daily life and about self-recovery, about overcoming white and male supremacy, and about intimate relationships, exploring the point where the public and private meet.

    The leader of the Burkina Faso revolution recounts how peasants and workers in this West African country began confronting hunger, illiteracy, and economic backwardness prior to the 1987 coup in which Sankara was murdered.

    This is a seminal text in cultural theory and an essential pocket handbook for situationists wherever they may be.

    In Critique of Economic Reason, he offers his fullest account to date of the terminal crisis of a system where every activity and aspiration has been subjected to the rule of the market. By carefully delineating the existential and cultural limits of economic rationality, he emphasizes the urgent need to create a society which rejects the work ethic in favor of an emancipatory ethic of free time.At the heart of his alternative is an advocacy not of “full employment,” but of an equal distribution of the diminishing amount of necessary paid work. He presents a practical strategy for reducing the working week, and develops a radical version of a guaranteed wage for all. Above all, he argues that a utopian vision is now the only realistic proposal, and that “economic reason must be returned to its true—that is subordinate—place.”

    A model for expression in contemporary aesthetics, the concept of the monad is viewed in terms of folds of space, movement, and time. Similarly, the world is interpreted as a body of infinite folds and surfaces that twist and weave through compressed time and space. According to Deleuze, Leibniz also anticipates contemporary views of event and history as multifaceted combinations of signs in motion and of the “modern” subject as nomadic, always in the process of becoming.

    From the left it can often be seen as the exclusive property of ruling classes, and from the right as an arid and totalizing exception to their own common sense. For some, the concept now seems too ubiquitous to be meaningful; for others, too cohesive for a world of infinite difference. Here, in a book written for both newcomers to the topic and those already familiar with the debate, Terry Eagleton unravels the many different definitions of ideology, and explores the concept’s tortuous history from the Enlightenment to postmodernism.Ideology provides lucid interpretations of the thought of key Marxist thinkers and of others such as Schopenhauer, Nietzsche, Freud and the various poststructuralists. As well as clarifying a notoriously confused topic, this new work by one of our most important contemporary critics is a controversial political intervention into current theoretical debates. It will be essential reading for students and teachers of literature and politics.

    For more than four decades his work has challenged conventional definitions of theatre, ritual and performance. When this seminal collection first appeared, Schechner's approach was not only novel, it was revolutionary: drama is not just something that occurs on stage, but something that happens in everyday life, full of meaning, and on many different levels. Within these pages he examines the connections between Western and non-Western cultures, theatre and dance, anthropology, ritual, performance in everyday life, rites of passage, play, psychotherapy and shamanism.

    Delivered in summer 1942 at the University of Freiburg, this course was first published in German in 1984 as volume 53 of Heidegger's Collected Works. Revealing for Heidegger's thought of the period are his discussions of the meaning of "the political" and "the national," in which he emphasizes the difficulty and the necessity of finding "one's own" in and through a dialogue with "the foreign." In this context Heidegger reflects on the nature of translation and interpretation. A detailed reading of the famous chorus from Sophocles' Antigone, known as the "ode to man," is a key feature of the course.

    Dillon's classic study of Merleau-Ponty is now available in a revised second edition containing a new preface and a new chapter on "Truth in Art." Dillon's thesis is that Merleau-Ponty has developed the first genuine alternative to ontological dualism seen in Western philosophy. From his early work on the philosophical significance of the human body to his later ontology of flesh, Merleau-Ponty shows that the perennial problems growing out of dualistic conceptions of mind and body, subject and object, immanence and transcendence can be resolved within the framework of a new way of thinking based on the exemplar of the worldly embodiment of thought.

    During his lifetime Ferenczi, a respected associate and intimate of Freud, unleashed widely disputed ideas that influenced greatly the evolution of modern psychoanalytic technique and practice. In a sequence of short, condensed entries, S ndor Ferenczi's Diary records self-critical reflections on conventional theory--as well as criticisms of Ferenczi's own experiments with technique--and his obstinate struggle to divest himself and psychoanalysis of professional hypocrisy. From these pages emerges a hitherto unheard voice, speaking to his heirs with startling candor and forceful originality--a voice that still resonates in the continuing debates over the nature of the relationship in psychoanalytic practice.

    This book emphasize on a dual focus. You will be asked to remain cognizant of the centrality of the person of the therapist, as well as of the evolving process of the therapy.

    

    She reveals that domination is a complex psychological process which ensnares both parties in bonds of complicity, and shows how it underlies our family life, our social institutions, and especially our sexual relations, in spite of our conscious commitment to equality and freedom.

    Hall's critical approach is elaborated here in essays on the formation of the SDP, inner city riots, the Falklands War and the signficance of Antonio Gramsci. He suggests that Thatcherism is skillfully employing the restless and individualistic dynamic of consumer capitalism to promote a swingeing programme of 'regressive modernization'.The Hard Road to Renewal is as concerned with elaborating a new politics for the Left as it is with the project of the Right. Hall insists that the Left can no longer trade on inherited politics and tradition. Socialists today must be as radical as modernity itself. Valuable pointers to a new politics are identified in the experience of feminism, the campaigns of the GLC and the world-wide response to Band Aid.

    His writings were edited by his disciple Porphyry, who published them many years after his master's death in six sets of nine treatises each (the Enneads).Plotinus regarded Plato as his master, and his own philosophy is a profoundly original development of the Platonism of the first two centuries of the Christian era and the closely related thought of the Neopythagoreans, with some influences from Aristotle and his followers and the Stoics, whose writings he knew well but used critically. He is a unique combination of mystic and Hellenic rationalist. His thought dominated later Greek philosophy and influenced both Christians and Moslems, and is still alive today because of its union of rationality and intense religious experience.In his acclaimed edition of Plotinus, Armstrong provides excellent introductions to each treatise. His invaluable notes explain obscure passages and give reference to parallels in Plotinus and others.

    His writings were edited by his disciple Porphyry, who published them many years after his master's death in six sets of nine treatises each (the Enneads).Plotinus regarded Plato as his master, and his own philosophy is a profoundly original development of the Platonism of the first two centuries of the Christian era and the closely related thought of the Neopythagoreans, with some influences from Aristotle and his followers and the Stoics, whose writings he knew well but used critically. He is a unique combination of mystic and Hellenic rationalist. His thought dominated later Greek philosophy and influenced both Christians and Moslems, and is still alive today because of its union of rationality and intense religious experience.In his acclaimed edition of Plotinus, Armstrong provides excellent introductions to each treatise. His invaluable notes explain obscure passages and give reference to parallels in Plotinus and others.

    Brown has written, "and the effects of his genius have been felt in many fields: linguistics, semiotics, art, structural anthropology, and, of course, literature." At every stage in his odyssey from Moscow to Prague to Denmark and then to the United States, he formed collaborative efforts that changed the very nature of each discipline he touched. This book is the first comprehensive presentation in English of Jakobson's major essays on the intertwining of language and literature: here the reader will learn how it was that Jakobson became legendary.Jakobson reveals himself as one of the great explorers of literary art in our day--a critic who revealed the avant-garde thrust of even the most worked-over poets, such as Shakespeare and Pushkin, and enabled the reader to see them as the innovators they were. Jakobson takes the reader from literature to grammar and then back again, letting points of structural detail throw a sharp light on the underlying form and linking thereby the most disparate realms into a coherent whole. In his essays we can also learn to appreciate his search for a fully systematic, nonmetaphysical understanding of the workings of literature: Jakobson made possible a deep structural analysis that did not exist before.Among the essential items in this collection are such classics as "Linguistics and Poetics" and "On a Generation That Squandered Its Poets" and illuminations of Baudelaire, Yeats, Turgenev, Pasternak, and Blake, as well as the famous pieces on Shakespeare and Pushkin. The essays include fundamental theoretical statements, structural analyses of individual poems, explorations of the connections between poetry and experience, and semiotic perspectives on the structure of verbal and nonverbal art. This will become a basic book for contemplating the function of language in literature--a project that will continue to engross the keenest readers.

    Not only will it sing, but it will tell time too. Or as Fats Domino once observed, 'I don't want to bury the lyrics, man; I want 'em to understand what I'm saying.'" Halflife is captivating. Charles Wright, in disclosing the contents of his journal, reveals the influence of Ezra Pound, Eugenio Montale, Emily Dickinson, Italian painter Giorgio Morandi, and country music legend A.P. Carter.

    Originally published in 1797, this is the first English translation of one of the most significant works in the German tradition of philosophy of nature and early nineteenth century philosophy of science.

    Conducted by the editors of El Diario newspaper.

    Rodowick offers a critical analysis of the development of film theory since 1968. He shows how debates concerning the literary principles of modernism—semiotics, structuralism, psychoanalysis, Marxism, and feminism—have transformed our understanding of cinematic meaning. Rodowick explores the literary paradigms established in France during the late 1960s and traces their influence on the work of diverse filmmaker/theorists including Jean-Luc Godard, Peter Gidal, Laura Mulvey, and Peter Wollen. By exploring the "new French feminisms" of Irigaray and Kristeva, he investigates the relation of political modernism to psychoanalysis and theories of sexual difference. In a new introduction written especially for this edition, Rodowick considers the continuing legacy of this theoretical tradition in relation to the emergence of cultural studies approaches to film.

    Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists' demands that art should move from depicting to transforming the world. The revolutionaries of October 1917 promised to create a society that was not only more just and more economically stable but also more beautiful, and they intended that the entire life of the nation be completely subordinate to Communist party leaders commissioned to regulate, harmonize, and create a single "artistic" whole out of even the most minute details. What were the origins of this idea? And what were its artistic and literary ramifications? In addressing these issues, Groys questions the view that socialist realism was an "art for the masses." Groys argues instead that the "total art" proposed by Stalin and his followers was formulated by well-educated elites who had assimilated the experience of the avant-garde and been brought to socialist realism by the future-oriented logic of avant-garde thinking. After explaining the internal evolution of Stalinist art, Groys shows how socialist realism gradually disintegrated after Stalin's death. In an undecided and insecure Soviet culture, artists focused on restoring historical continuity or practicing "sots art," a term derived from the combined names of socialist realism (sotsrealizm) and pop art. Increasingly popular in the West, sots-artists incorporate the Stalin myth into world mythology and demonstrate its similarity to supposedly opposing myths.

    The barbarity of the Nazis is well documented. Less well known are the events that preceeded Hitler's rise to power. Rob Sewell gives a picture of the tumultous events - the 1918 revolution, the collapse of the Kaiser's regime, the short- lived Bavarian Soviet Republic, the Kapp putsch in 1920, the French occupation of the Ruhr in 1923 and the ensuing revolutionary upheavals culminating in the abortive Hamburg uprising, finally Hitler's rise to power in 1929-33. Above all this book shows, in the decisive (and tragic) role of the German workers' leadership, the answer to one of the key questions of the modern era: how was it possible for the mightiest labour movement in Europe to be trampled under the iron heel of fascism?

    In this groundbreaking study, Tony Magistrale shows how King's fiction transcends the escapism typical of its genre to tap into our deepest cultural fears: "that the government we have installed through the democratic process is not only corrupt but actively pursuing our destruction, that our technologies have progressed to the point at which the individual has now become expendable, and that our fundamental social institutions-school, marriage, workplace, and the church-have, beneath their veneers of respectability, evolved into perverse manifestations of narcissism, greed, and violence."Tracing King's moralist vision to the likes of Twain, Hawthorne, and Melville, Landscape of Fear establishes the place of this popular writer within the grand tradition of American literature. Like his literary forbears, King gives us characters that have the capacity to make ethical choices in an imperfect, often evil world. Yet he inscribes that conflict within unmistakably modern settings. From the industrial nightmare of "Graveyard Shift" to the breakdown of the domestic sphere in The Shining, from the techno-horrors of The Stand to the religious fanaticism and adolescent cruelty depicted in Carrie, Magistrale charts the contours of King's fictional landscape in its first decade.

    

    Richard Abel has devised an organizational scheme of six nearly symmetrical periods that serve to bite into the discursive flow of early French writing on the cinema. Each of the periods is discussed in a separate and extensive historical introduction, with convincing explications of the various concepts current at the time. In each instance, Abel goes on to provide a complementary anthology of selected texts in translation. Amounting to a portable archive, these anthologies make available a rich selection of nearly one hundred and fifty important texts, most of them never before published in English.

    Lizius 1880 Speech of the condemned Louis Lingg 1880s Speech to Missionaries Red Jacket, Seneca leader 1880s An exchange Judge Roy Bean & Judged Beaner 1888 Voters Strike! Octave Mirbeau 1896 from Might is Right Ragnar Redbeard 1908 from Degeneration Max Nordau 1913 Manifesto of Lust Valentine de Saint-Point 1917 Anarcho-Futurist Manifesto A. L. and V. L. Gordin 1920 Iconoclasts, Forward! Renzo Novatore 1920 Literature and the Rest Philippe Soupault 1924 from The Anathema of Zos Austin Osman Spare 1925 General Security: The Liquidation of Opium Antonin Artaud 1929 I Wish You All Had One Neck Carl Panzram 1930s from The Eternal Youth Ralph Chubb 1937 from Bagatelles pour un Massacre Louis-Ferdinand Céline 1942 from Darkness Ezra Pound 1945 The Poets' Dishonor Benjamin Péret 1945 from Listen, Little Man Wilhelm Reich 1953 Formulary for a New Urbanism Ivan Chtcheglov 1963 Concerning New Year 1963 Ayatollah Ruhollah Khomeini 1960s Ball of the Freaks Anon. 1967 There is a Great Deal to be Silent About Emmett Grogan 1968 from SCUM Manifesto Valerie Solanas 1970 Plea for Courage Mel Lyman 1971 P. O. W. Statement Timothy Leary 1971 On Fear The Process Church 1970s Occupy the Brain! Carsten Regild & Rolf Börjlind 1971 from Never Again! Rabbi Meir Kahane mid 1970s Situationist Liberation Front Situationist International 1976 from The Invisibles Thibaut D'Amiens 1977 Misanthropia Anton Szandor La Vey 1979 The Anthropolitical Motivations Stanislav Szukalski 1981 The Correct Line Bob Black 1982 Investment in Survival Kurt Saxon 1983 The Roots of Modern Terror Gerry Reith 1983 from Meese Commission Report on Pornography Park Elliott Dietz, M. D. 1985 Reward of the Tender Flesh Ed Lawrence 1984 The Nine Secrets of Mind Poisoning at a Distance Kerry Wendell Thornley 1985 L'Revolucion Pour Neant Pascal Uni 1986 Sammy Prole Gets Tough John Crawford 1987 Population and AIDS Miss Ann Thropy (Earth First!) 1988 Out of the Magic of Venom: Creation Kathy Acker 1988 Intellectual S & M is the Fascism of the 80s Hakim Bey

    Finding its guiding motives in Kant's second Critique and working its way up to and beyond Heidegger and Adorno, this book marks the most advanced position in the thinking of freedom that has been proposed after Sartre and Levinas. One could call it a fundamental ontology of freedom if freedom, according to the author, did not entail liberation from foundational acts and the overcoming of any logic that determines the way ontology does, by positing being either as self-sufficient position or as subjected to strictly immanent laws.Once existence no longer offers itself as an empiricity that must be related to its conditions of possibility or sublated in a transcendence beyond itself, but instead as sheer factuality, we must think this fact, the fact of existence as the essence of itself, as freedom. The question is no longer "Why is there something rather than nothing?" Instead, it becomes "Why these very questions by which existence affirms itself and abandons itself in a single gesture?" If we do not think being itself as a freedom, we are condemned to think of freedom as pure "Idea" or "right," and being-in-the-world, in turn, as a blind and obtuse necessity. Since Kant, philosophy and our world have relentlessly confronted this scission.

    

    Douglas Atkins, who writes: "This lively and engaging, informed and informative book constitutes an important contribution. Though its ‘field’ is most obviously composition, composition theory, and pedagogy, part of its importance derives from the way it transcends disciplinary boundaries to bear on writing in general. . . I know of no book that so fully and well discusses, and evaluates, the implications of deconstruction for composition and pedagogy. That [it] goes ‘beyond deconstruction,’ rather than merely ‘applying’ it, increases its importance and signals a clear contribution to the understanding of writing."Jasper Neel analyzes the emerging field of composition studies within the epistemological and ontological debate over writing precipitated by Plato, who would have us abandon writing entirely, and continued by Derrida, who argues that all human beings are written. This book offers a three-part exploration of that debate. In the first part, a deconstructive reading of Plato’s Phaedrus, Neel shows the elaborate sleight-of-hand that Plato must employ as he uses writing to engage in a semblance of spoken dialogue.The second part describes Derrida’s theory of writing and presents his famous argument that "the history of truth, of the truth of truth, has always been. . .the debasement of writing, and its repression outside full speech." A lexicon of nine Derridean terms, the key to his theory of writing, is also included. At the end of this section, Neel turns deconstruction against itself, demonstrating that Derridean analysis collapses of its own weight.The concluding section of the book juxtaposes the implications of Platonic and Derridean views of writing, warning that Derrida’s approach may lock writing inside philosophy. The conclusion suggests that writing may be liberated from philosophical judgment by turning to Derrida’s predecessors, the sophists, particularly Protagoras and Gorgias. Drawing on Protagoras’s idea of strong discourse, Neel shows that sophistry is the foundation of democracy: "Strong discourse is public discourse, which, though based on probability and not truth, remains persuasive over a long period of time to a great number of people. This publicly tested discourse exists only among competitors, never alone, but its ability to remain persuasive even when surrounded by other discourses enables the ideas of democracy to emerge and then keeps democracy alive."

    It illustrates how masochism extends into the area of artistic form, language and the production of pleasure.

    Brown's book is challenging, provocative and...original; it does force us to question the degree to which gender controls our politics.'-THE REVIEW OF POLITICS

    The second part of the volume offers a series of case studies. Chartier explores, among other things, the cultural significance of symbolic role reversals, the representations of peasant reading practices in the Age of Enlightenment, and the role of intellectuals in the universities and labour markets of early modern Europe. Through these case studies Chartier elaborates the elements of a highly original approach to the history of cultural forms.

    

    The orientation is strongly stylistic, dealing mainly with the polyphony of the late Baroque period. Three aspects are stressed throughout: practical work in writing counterpoint, utilizing various textures, devices, and genre of the period; historical background, to establish the origins of different forms and justify the pedagogical method employed here; analysis of selections from music literature, often in voice-leading reductions. After an opening chapter that reviews some general features of the late Baroque period, there is a brief survey of melodic characteristics, and a study of procedures associated with two, three, and four voices.

    For many years, James Scully, along with others, quietly radicalized American poetry—in theory and in practice, in how it is lived as well as in how it is written. In eight provocative essays, James Scully argues provocatively for artistic and cultural practice that actively opposes structures of power too often reinforced by intellectual activities.

    Gathered here are statements from the pens and mouths of men who made war. Many of the myths surrounding war are explored, and the harrowing examination will help readers draw their own conclusions about the biggest issue facing mankind this century.

    In opposition to these positions, Modleski asserts that Hitchcock is deeply ambivalent towards his female characters. The Women Who Knew Too Much examines both the director's complex attitude toward femininity, and the implications of that attitutde for the audience. The book represents a significant contribution to the debates in film theory around the issue of gender and film spectatorship; in particular, it seeks to complicate the view that women's response to patriarchal cinema can only be masochistic, while men's response is necessarily sadistic.Applying the theories of psychoanalysis, mass culture, and a broad range of film (and) feminist criticism, Modleski offers compelling readings of seven Hitchcock films from various periods in his career.

    In this book, Robert Paul Wolff dispels much of the mystery surrounding Capital by providing a literary-philosophical analysis of the text and of Marx's intentions.

    Fully annotated with notes and introductions, the selections encompass a wide range of topics--including authorship, ethics, symbolism, biography, poetics, allegory, and semiotics--and represent many important writers--including Dante, Petrarch, Boccaccio, Grosseteste, Abelard, and Peter Lombard.

    Based on three lectures delivered at the Hebrew University of Jerusalem in 1984, the work provides a useful focal point for continued discussion of the relationship between Descartes and Spinoza, while also serving as a readable and relatively brief but substantial introduction to the Ethics for students. Behind the Geometrical Method is actually two books in one. The first is Edwin Curley's text, which explains Spinoza's masterwork to readers who have little background in philosophy. This text will prove a boon to those who have tried to read the Ethics, but have been baffled by the geometrical style in which it is written. Here Professor Curley undertakes to show how the central claims of the Ethics arose out of critical reflection on the philosophies of Spinoza's two great predecessors, Descartes and Hobbes.The second book, whose argument is conducted in the notes to the text, attempts to support further the often controversial interpretations offered in the text and to carry on a dialogue with recent commentators on Spinoza. The author aligns himself with those who interpret Spinoza naturalistically and materialistically.

    

    The result is an extremely useful manual for people who work together for positive social change. Putting Gracie Lyon's suggestions into practice will increase the power of people's work as well as their personal sense of well being and satisfaction.""Want to work with a friend or a group? You have to know what your purpose is. Then you have to know how to do it. This book is a guide to working cooperatively."

    Carol Anne Douglas examines diverse theories on the roots of male domination; love and sexuality; lesbianism and friendship between women; lesbian separatism; sadomasochism; strategy and tactics for women's liberation -- and more. Douglas probes the divergent roots of radical feminist theory. She then glides her analytic lens to examine diverse currents in radical feminist practice. While some radical feminists emphasize confronting the enemy (patriarchy and/or capitalism), others emphasize building alternative women's communities to achieve radical feminist goals in the here and now. "In the early and mid 1970s," Douglas observes, "there was a turn by radical and lesbian feminists not only from working for legislated reforms but also from any sort of demonstrations or direct confrontation with the male power structure... Creating independent projects -- whether these were publications, bookstores, restaurants, record companies, credit unions or rape crisis centers -- was seen by many as a more productive way of opposing the system. Creating an alternative system was seen as more radical than directly confronting the power structure. The alternative strategy is derived from the 1960s counterculture, but also ultimately from anarchist and utopian socialist principles. "Some radical feminists saw the turn to establishing alternatives as a diversion from radicalism and as triumph for liberals. However, even these feminists saw the need for an alternative press..." Douglas draws on her vast knowledge of radical feminist writings and practical experience in women's movements to bring clarity to the radical feminist currents and cross-currents since the 1970s.

    The controversy has flared anew in our own time as a facet of the battle between conservatives and liberals. In Original Intent and the Framers' Constitution, the distinguished constitutional scholar Leonard Levy cuts through the Gordian Knot of claim and counterclaim with an argument that is clear, logical, and compelling. Rejecting the views of both left and right, he evaluates the doctrine of "original intent" by examining the sources of constitutional law and landmark cases. Finally, he finds no evidence for grounding the law in original intent. Judicial activism-the constant reinterpretation of the Constitution-he sees as inevitable.

    The book includes some of his speeches on Theodor Adorno and Walter Benjamin and presents excerpts from conversations on his life as a scholar and teacher, as managing editor of the Institute for Social Research's famous journal, as government servant during and immediately after the war, and as observer and critic of contemporary culture and politics. Together these selections present an intriguing biographical panorama of a major intellectual figure.

    

    Sochor here assesses one of the most important debates within the Bolshevik leadership during the early years of Soviet power-that between A. A. Bogdanov and V. I. Lenin. Once comrades-in-arms, Bogdanov and Lenin became political rivals prior to the October Revolution. Their disagreements over political and cultural issues led to a split in the Bolshevik Party, with Bogdanov spearheading the party's left-wing faction and attracting a following of notable intellectuals. Before Lenin died in 1924, however, he had succeeded in shaping Soviet society according to his own vision, and today Bolshevism is commonly identified with Leninism while Bogdanovism is little known. Sochor provides the first full exposition in English of Bogdanov's views, which, she asserts, must be understood to appreciate the choices available and the paths not taken during the formative years of the Soviet regime.

    All the fundamental tenents of Judaism as expressed in the Thirteen Principles of Faith laid down by Maimonides are subjected to a brilliant, courageous interpretation—a major work.

    This invaluable study by leading Renaissance scholar Terence Cave is the first to trace the history of the term and to explore its role in French, German, and English literature as a continuing focus for theoretical reflection.