The author received three separate requests for a gift of one guinea-one for a women’s college building fund, one for a society promoting the employment of professional women, and one to help prevent war and “protect culture, and intellectual liberty.” This book is a threefold answer to these requests-and a statement of feminine purpose.

    He demonstrates particularly how an ethics conceived in terms of negative human rights and tolerance of difference cannot underpin a coherent concept of evil."

    The marketplace now operates through every hour of the clock, pushing us into constant activity and eroding forms of community and political expression, damaging the fabric of everyday life.Jonathan Crary examines how this interminable non-time blurs any separation between an intensified, ubiquitous consumerism and emerging strategies of control and surveillance. He describes the ongoing management of individual attentiveness and the impairment of perception within the compulsory routines of contemporary technological culture. At the same time, he shows that human sleep, as a restorative withdrawal that is intrinsically incompatible with 24/7 capitalism, points to other more formidable and collective refusals of world-destroying patterns of growth and accumulation.

    In the second and third volumes, The History of Eroticism and Sovereignty, Bataille explores the same paradox of utility from an anthropological and an ethical perspective, respectively. The History of Eroticism analyzes the fears and fascination, the prohibitions and transgressions attached to the realm of eroticism as so many expressions of the "uselessness" of erotic life.

    An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual."Contents:The Queen's looking glass: female creativity, male images of women, and the metaphor of literary paternity --Infection in the sentence: the women writer and the anxiety of authorship --The parables of the cave --Shut up in prose: gender and genre in Austen's Juvenilia --Jane Austen's cover story (and its secret agents) --Milton's bogey: patriarchal poetry and women readers --Horror's twin: Mary Shelley's monstrous Eve --Looking oppositely: Emily Brontë's bible of hell --A secret, inward wound: The professor's pupil --A dialogue of self and soul: plain Jane's progress --The genesis of hunger, according to Shirley --The buried life of Lucy Snowe --Made keen by loss: George Eliot's veiled vision --George Eliot as the angel of destruction --The aesthetics of renunciation --A woman, white: Emily Dickinson's yarn of pearl.

    In this new book, David Harvey seeks to determine what is meant by the term in its different contexts and to identify how accurate and useful it is as a description of contemporary experience.But the book is much more than this: in the course of his investigation the author provides a social and semantic history – from the Enlightenment to the present – of modernism and its expression in political and social ideas and movements, as well as in art, literature and architecture. He considers in particular how meaning and perception of time and space themselves vary over time and space, and shows that this variance affects individual values and social processes of the most fundamental kind.This book will be widely welcomed, not only for its clear and critical account of the arguments surrounding the propositions of modernity and postmodernity, but as an incisive contribution to the history of ideas and their relation to social and political change.

    While some marvel at these changes, envisioning consciousness downloaded into a computer or humans "beamed" Star Trek-style, others view them with horror, seeing monsters brooding in the machines. In How We Became Posthuman, N. Katherine Hayles separates hype from fact, investigating the fate of embodiment in an information age.Hayles relates three interwoven stories: how information lost its body, that is, how it came to be conceptualized as an entity separate from the material forms that carry it; the cultural and technological construction of the cyborg; and the dismantling of the liberal humanist "subject" in cybernetic discourse, along with the emergence of the "posthuman."Ranging widely across the history of technology, cultural studies, and literary criticism, Hayles shows what had to be erased, forgotten, and elided to conceive of information as a disembodied entity. Thus she moves from the post-World War II Macy Conferences on cybernetics to the 1952 novel Limbo by cybernetics aficionado Bernard Wolfe; from the concept of self-making to Philip K. Dick's literary explorations of hallucination and reality; and from artificial life to postmodern novels exploring the implications of seeing humans as cybernetic systems.Although becoming posthuman can be nightmarish, Hayles shows how it can also be liberating. From the birth of cybernetics to artificial life, How We Became Posthuman provides an indispensable account of how we arrived in our virtual age, and of where we might go from here.

    On one side the alt right ranges from the once obscure neo-reactionary and white separatist movements, to geeky subcultures like 4chan, to more mainstream manifestations such as the Trump-supporting gay libertarian Milo Yiannopolous. On the other side, a culture of struggle sessions and virtue signalling lurks behind a therapeutic language of trigger warnings and safe spaces. The feminist side of the online culture wars has its equally geeky subcultures right through to its mainstream expression. Kill All Normies explores some of the cultural genealogies and past parallels of these styles and subcultures, drawing from transgressive styles of 60s libertinism and conservative movements, to make the case for a rejection of the perpetual cultural turn.

    This ironic perspective on the human condition is valuable but it cannot advance liberalism's social and political goals. In fact, Rorty believes that it is literature and not philosophy that can do this, by promoting a genuine sense of human solidarity. Specifically, it is novelists such as Orwell and Nabokov who succeed in awakening us to the cruelty of particular social practices and individual attitudes. Thus, a truly liberal culture would fuse the private, individual freedom of the ironic, philosophical perspective with the public project of human solidarity as it is engendered through the insights and sensibilities of great writers. Rorty uses a wide range of references--from philosophy to social theory to literary criticism--to elucidate his beliefs.

    Nearly twenty years later, when published for the first time in English, Discourse on Colonialism inspired a new generation engaged in the Civil Rights, Black Power, and antiwar movements. Aimé Césaire eloquently describes the brutal impact of capitalism and colonialism on both the colonizer and colonized, exposing the contradictions and hypocrisy implicit in western notions of "progress" and "civilization" upon encountering the "savage," "uncultured," or "primitive." He reaffirms African values, identity, and culture, and their relevance, reminding us that "the relationship between consciousness and reality is extremely complex. . . . It is equally necessary to decolonize our minds, our inner life, at the same time that we decolonize society." An interview with Aimé Césaire by the poet René Depestre is also included.

    Initiating and describing a theory and method of reading the metaphors and materiality of "the wake," "the ship," "the hold," and "the weather," Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, and punishment, but also something in excess of them. In the weather, Sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.

    The beginning of the twenty-first century has rudely disposed of such ideas--most obviously through 9/11and its aftermath. But just as damaging has been the rise in the West of a belief that a single model of political behaviour will become a worldwide norm and that, if necessary, it will be enforced at gunpoint. In "Black Mass," celebrated philosopher and critic John Gray explains how utopian ideals have taken on a dangerous significance in the hands of right-wing conservatives and religious zealots. He charts the history of utopianism, from the Reformation through the French Revolution and into the present. And most urgently, he describes how utopian politics have moved from the extremes of the political spectrum into mainstream politics, dominating the administrations of both George W. Bush and Tony Blair, and indeed coming to define the political centre. Far from having shaken off discredited ideology, Gray suggests, we are more than ever in its clutches."Black Mass "is a truly frightening and challenging work by one of Britain's leading political thinkers. John Gray is the author of many critically acclaimed books, including "Straw Dogs "and "Al Qaeda and What It Means to Be Modern." A regular contributor to "The New York Review of Books," he is a professor of European thought at the London School of Economics.

    She wrote it but she shouldn't have. She wrote it but look what she wrote about. She wrote it but she isn't really an artist, and it isn't really art. She wrote it but she had help. She wrote it but she's an anomaly. She wrote it BUT..." How to Suppress Women's Writing is a meticulously researched and humorously written "guidebook" to the many ways women and other "minorities" have been barred from producing written art. In chapters entitled "Prohibitions," "Bad Faith," "Denial of Agency," Pollution of Agency," "The Double Standard of Content," "False Categorization," "Isolation," "Anomalousness," "Lack of Models," Responses," and "Aesthetics" Joanna Russ names, defines, and illustrates those barriers to art-making we may have felt but which tend to remain unnamed and thus insolvable.

    He reveals the astonishing new culture wars playing out in our workplaces, universities, schools and homes in the names of social justice, identity politics and intersectionality.We are living through a postmodern era in which the grand narratives of religion and political ideology have collapsed. In their place have emerged a crusading desire to right perceived wrongs and a weaponization of identity, both accelerated by the new forms of social and news media. Narrow sets of interests now dominate the agenda as society becomes more and more tribal--and, as Murray shows, the casualties are mounting.

    Beginning with a ruthless analysis of New Leftism and concluding with a critique of the key strands in its thinking, Roger Scruton conducts a reappraisal of such major left-wing thinkers as E. P. Thompson, Ronald Dworkin, R. D. Laing, Jurgen Habermas, Gyorgy Lukacs, Jean-Paul Sartre, Jacques Derrida, Slavoj Žižek, Ralph Milliband, and Eric Hobsbawm. In addition to assessments of these thinkers' philosophical and political contributions, the book contains a biographical and bibliographical section summarizing their careers and most important writings.In Fools, Frauds and Firebrands Scruton asks, What does the Left look like today, and how has it evolved? He charts the transfer of grievances, from the working class to women, gays, and immigrants, asks what we can put in the place of radical egalitarianism, and what explains the continued dominance of antinomian attitudes in the intellectual world. Can there be any foundation for resistance to the leftist agenda without religious faith?Writing with great clarity, Scruton delivers a devastating critique of modern left-wing thinking.