The central work by one of the century's most influential thinkers, it altered the course of western philosophy. Its revolutionary approach challenged all previous assumptions about the individual's relationship with the world. Known as 'the Bible of existentialism', its impact on culture & literature was immediate & was felt worldwide, from the absurdist drama of Samuel Beckett to the soul-searching cries of the Beat poets.Being & Nothingness is one of those rare books whose influence has affected the mindset of subsequent generations. Seventy years after its 1st publication, its message remains as potent as ever--challenging readers to confront the fundamental dilemmas of human freedom, choice, responsibility & action.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    Newsweek called it “a stunning new study of ethics by one of the foremost moral philosophers in the English-speaking world.” Since that time, the book has been translated into more than fifteen foreign languages and has sold over one hundred thousand copies. Now, twenty-five years later, the University of Notre Dame Press is pleased to release the third edition of After Virtue, which includes a new prologue “After Virtue after a Quarter of a Century.” In this classic work, Alasdair MacIntyre examines the historical and conceptual roots of the idea of virtue, diagnoses the reasons for its absence in personal and public life, and offers a tentative proposal for its recovery. While the individual chapters are wide-ranging, once pieced together they comprise a penetrating and focused argument about the price of modernity. In the Third Edition prologue, MacIntyre revisits the central theses of the book and concludes that although he has learned a great deal and has supplemented and refined his theses and arguments in other works, he has “as yet found no reason for abandoning the major contentions” of this book. While he recognizes that his conception of human beings as virtuous or vicious needed not only a metaphysical but also a biological grounding, ultimately he remains “committed to the thesis that it is only from the standpoint of a very different tradition, one whose beliefs and presuppositions were articulated in their classical form by Aristotle, that we can understand both the genesis and the predicament of moral modernity.”

    The Structure of Scientific Revolutions is that kind of book. When it was first published in 1962, it was a landmark event in the history and philosophy of science. Fifty years later, it still has many lessons to teach. With The Structure of Scientific Revolutions, Kuhn challenged long-standing linear notions of scientific progress, arguing that transformative ideas don’t arise from the day-to-day, gradual process of experimentation and data accumulation but that the revolutions in science, those breakthrough moments that disrupt accepted thinking and offer unanticipated ideas, occur outside of “normal science,” as he called it. Though Kuhn was writing when physics ruled the sciences, his ideas on how scientific revolutions bring order to the anomalies that amass over time in research experiments are still instructive in our biotech age. This new edition of Kuhn’s essential work in the history of science includes an insightful introduction by Ian Hacking, which clarifies terms popularized by Kuhn, including paradigm and incommensurability, and applies Kuhn’s ideas to the science of today. Usefully keyed to the separate sections of the book, Hacking’s introduction provides important background information as well as a contemporary context.  Newly designed, with an expanded index, this edition will be eagerly welcomed by the next generation of readers seeking to understand the history of our perspectives on science.

    Distinguished from the  detached formal essay by its friendly, conversational tone, its loose structure, and its drive toward candor and self-disclosure, the personal essay seizes on the minutiae of daily life-vanities, fashions, foibles, oddballs, seasonal rituals, love and  disappointment, the pleasures of solitude, reading, taking a walk -- to offer insight into the human condition and the great social and political issues of the day. The Art of the Personal Essay is the first anthology to celebrate this fertile genre. By presenting more than seventy-five personal essays, including influential forerunners from ancient Greece, Rome, and the Far East, masterpieces from the dawn of the personal essay in the sixteenth century, and a wealth of the finest personal essays from the last four centuries, editor Phillip Lopate, himself an acclaimed essayist, displays the tradition of the personal essay in all its historical grandeur, depth, and diversity.

    When Walter Kaufmann wrote it in the immediate aftermath of World War II, most scholars outside Germany viewed Nietzsche as part madman, part proto-Nazi, and almost wholly unphilosophical. Kaufmann rehabilitated Nietzsche nearly single-handedly, presenting his works as one of the great achievements of Western philosophy.Responding to the powerful myths and countermyths that had sprung up around Nietzsche, Kaufmann offered a patient, evenhanded account of his life and works, and of the uses and abuses to which subsequent generations had put his ideas. Without ignoring or downplaying the ugliness of many of Nietzsche's proclamations, he set them in the context of his work as a whole and of the counterexamples yielded by a responsible reading of his books. More positively, he presented Nietzsche's ideas about power as one of the great accomplishments of modern philosophy, arguing that his conception of the will to power was not a crude apology for ruthless self-assertion but must be linked to Nietzsche's equally profound ideas about sublimation. He also presented Nietzsche as a pioneer of modern psychology and argued that a key to understanding his overall philosophy is to see it as a reaction against Christianity.Many scholars in the past half century have taken issue with some of Kaufmann's interpretations, but the book ranks as one of the most influential accounts ever written of any major Western thinker.

    Editor Faubion Bowers provides a foreword and many informative notes to the poems.

    Combine this with thoughtful and thorough apparatus, and Philosophy of Science: The Central Issues is the most flexible and comprehensive collection ever created for undergraduate courses.

    This Penguin Classics edition of The Complete Essays is translated from the French and edited with an introduction and notes by M.A. Screech.In 1572 Montaigne retired to his estates in order to devote himself to leisure, reading and reflection. There he wrote his constantly expanding 'assays', inspired by the ideas he found in books contained in his library and from his own experience. He discusses subjects as diverse as war-horses and cannibals, poetry and politics, sex and religion, love and friendship, ecstasy and experience. But, above all, Montaigne studied himself as a way of drawing out his own inner nature and that of men and women in general. The Essays are among the most idiosyncratic and personal works in all literature and provide an engaging insight into a wise Renaissance mind, continuing to give pleasure and enlightenment to modern readers.With its extensive introduction and notes, M.A. Screech's edition of Montaigne is widely regarded as the most distinguished of recent times.Michel de Montaigne (1533-1586) studied law and spent a number of years working as a counsellor before devoting his life to reading, writing and reflection.If you enjoyed The Complete Essays, you might like Francois Rabelais's Gargantua and Pantagruel, also available in Penguin Classics.'Screech's fine version ... must surely serve as the definitive English Montaigne'A.C. Grayling, Financial Times'A superb edition'Nicholas Wollaston, Observer

    With Mindfulness, Joseph Goldstein shares the wisdom of his four decades of teaching and practice in a book that will serve as a lifelong companion for anyone committed to mindful living and the realization of inner freedom.Goldstein's source teaching is the Satipatthana Sutta, the Buddha's legendary discourse on the four foundations of mindfulness that became the basis for the many types of Vipassana (or insight meditation) found today. Exquisite in detail yet wholly accessible and relevant for the modern student, Mindfulness takes us through a profound study of: Ardency, clear knowing, mindfulness, and concentration--how to develop these four qualities of mind essential for walking the path wiselyThe Satipatthana refrain--how deeply contemplating the four foundations of mindfulness opens us to bare knowing and continuity of mindfulnessMindfulness of the body, including the breath, postures, activities, and physical characteristicsMindfulness of feelings--how the experience of our sense perceptions influences our inner and outer worldsMindfulness of mind--learning to recognize skillful and unskillful states of mind and thoughtMindfulness of dhammas (or categories of experience), including the Five Hindrances, the Six Sense Spheres, the Seven Factors of Awakening, and much more"There is a wealth of meaning and nuance in the experience of mindfulness that can enrich our lives in unimagined ways," writes Goldstein. In Mindfulness you have the tools to mine these riches for yourself.

    [captures] the relentless urgency of Lucretius' didacticism, his passionate conviction and proselytizing fervour.' --The Classical Review

    Nowhere does his art appear in so quintessential a form as in Notes from Underground, certainly one of the most revolutionary and original works in world literature; nowhere is his thought presented with such authority as in "The Grand Inquisitor," an episode of central importance taken from his last and greatest novel, The Brothers Karamazov. In both these vital works Dostoevsky confronts the reader with the tragic grandeur of man, indeed, with a whole philosophy of tragedy: the tragedy of the individual and freedom, the tragedy of the historical process, the tragedy of universal evil.Relevant works included by Chernyshevsky, Schedrin and Dostoevsky.

    He was an early advocate of criticism as an independent branch of literature and stressed its vital role in the creative process. Scholars continue to debate many of Wilde's critical positions.Included in Richard Ellmann's impressive collection of Wilde's criticism, The Artist as Critic, is a wide selection of Wilde's book reviews as well as such famous longer works as "The Portrait of Mr. W.H.," "The Soul Man under Socialism," and the four essays which make up Intentions. The Artist as Critic will satisfy any Wilde fan's yearning for an essential reading of his critical work."Wilde . . . emerges now as not only brilliant but also revolutionary, one of the great thinkers of dangerous thoughts."—Walter Allen, New York Times Book Review"The best of Wilde's nonfictional prose can be found in The Artist as Critic."—Michael Dirda, Washington Post Book World

    But as the aim of this science, as of political economy, is not to explain what now is and what ought to be, but rather to prove that what now exists, is what ought to be, it happens that in this Science (of jurisprudence) we find very many dissertations about rights, about object and subject, about the idea of a state and other such matters which are unintelligible both to the students and to the teachers of this science, but we get no clear reply to the question, What is legislation?According to science, legislation is the expression of the will of the whole people; but as those who break the laws, or who wish to break them, and only refrain from fear of being punished, are always more numerous than those who wish to carry out the code, it is evident that legislation can certainly not be considered as the expression of the will of the whole people.For instance, there are laws about not injuring telegraph posts, about showing respect to certain people, about each man performing military service or serving as a juryman, about not taking certain goods beyond a certain boundary, or about not using land considered the property of some one else, about not making money- tokens, not using articles which are considered to be the property of others, and about many other matters.All these laws and many others are extremely complex, and may have been passed from the most diverse motives, but not one of them expresses the will of the whole people.There is but one general characteristic of all these laws-namely, that if any man does not fulfil them, those who have made them will send armed men, and the armed men will beat, deprive of freedom, or even kill the man who does not fulfil the law."""But all these are general considerations, and whether they are correct or not, they are inapplicable to life," will be the remark made by people accustomed to their position, and who do not consider it possible, or who do not wish, to change it."Tell us what to do, and how to organize society," is what people of the well-to-do classes usually say.People of the well-to-do classes are so accustomed to their role of slave owners that when there is talk of improving the workers' condition, they at once begin, like our serf owners before the emancipation, to devise all sorts of plans for their slaves; but it never occurs to them that they have no right to dispose of other people, and that if they really wish to do good to people, the one thing they can and should do is to cease to do the evil they are now doing. And the evil they do is very definite and clear. It is not merely that they employ compulsory slave labour, and do not wish to cease from employing it, but that they also take part in establishing and maintaining this compulsion of labour. That is what they should cease to do.The working people are also so perverted by their compulsory slavery that it seems to most of them that if their position is a bad one, it is the fault of the masters, who pay them too little and who own the means of production. It does not enter their heads that their bad position depends entirely on themselves, and that if only they wish to improve their own and their brothers' positions, and not merely each to do the best he can for himself, the great thing for them to do is themselves to cease to do evil."

    Kundera is a passionate defender of the moral rights of the artist and the respect due a work of art and its creator’s wishes. The betrayal of both—often by their most passionate proponents—is one of the key ideas that informs this strikingly original and elegant book.