Throughout his life, Churchill painted to relieve his mind from the demands of leadership—and to stave off depression. Included in this volume are Churchill’s meditations on painting as a salve for the spirit and an important method of relaxation—particularly for people under considerable stress over a long period of time. In addition, it includes 18 reprints of Churchill’s original work in oil, giving the reader a window into the little-known creative and artistic talent of this prominent figure in contemporary history. ABOUT THE AUTHOR Sir Winston Churchill was awarded the Nobel Prize in Literature in 1953 “for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values.” Over a 64-year span, Churchill published over 40 books, many multi-volume definitive accounts of historical events to which he was a witness and participant. All are beautifully written and as accessible and relevant today as when first published. During his fifty-year political career, Churchill served twice as Prime Minister in addition to other prominent positions—including President of the Board of Trade, First Lord of the Admiralty, Chancellor of the Exchequer, and Home Secretary. In the 1930s, Churchill was one of the first to recognize the danger of the rising Nazi power in Germany and to campaign for rearmament in Britain. His leadership and inspired broadcasts and speeches during World War II helped strengthen British resistance to Adolf Hitler—and played an important part in the Allies’ eventual triumph. One of the most inspiring wartime leaders of modern history, Churchill was also an orator, a historian, a journalist, and an artist. All of these aspects of Churchill are fully represented in this collection of his works. ABOUT THE SERIES When the Conservative government was defeated in Britain’s 1929 general election, Winston Churchill was exiled from the party—chiefly because of his disagreements with party leaders over Indian Home Rule and protective tariffs, as well as his connections with financiers, press barons, and others who were not trusted by Conservative leadership. This period, between 1929 and 1939, came to be known as Churchill’s “wilderness years.” During this time, he focused on his writing—and served as an important voice for British armament against the rise of Hitler. Many of his works published during this time—including collections of newspaper articles and one very rare short story—are considered lost classics in the Churchill canon.

    J. Clark rewrites the history of modern art. With the fall of the Berlin Wall, he explains, the project called socialism may have come to an end at roughly the same moment as modernism. Did modernism and socialism depend on each other for their vitality—for their sense of the future and their wish to live in a fully material world? Have they died? Aware of modernism’s foibles and blind spots, but passionately attached to the movement’s wildness, Clark poses these fundamental questions in Farewell to an Idea. Modernism, Clark argues, was an extreme answer to an extreme condition—the one Max Weber summed up as “the disenchantment of the world.” Clark focuses on instances of maximum stress, when the movement revealed its true nature. The book begins with Jacques-Louis David, painting at the height of the Terror in 1793, then leaps forward to Pissarro a hundred years later, struggling to picture Two Young Peasant Women ina way that agreed with his anarchist politics. Next the author turns in succession to Cézanne’s paintings of the Grandes Baigneuses and their coincidence in time (and maybe intention) with Freud’s launching of psychoanalysis; to Picasso’s Cubism; and to avant-garde art after the Russian Revolution. Clark concludes with a reading of Jackson Pollock’s tragic version of abstraction and suggests a new set of terms to describe avant-garde art—perhaps in its final flowering—in America after 1945. Shifting between broad, speculative history and intense analysis of specific works, Clark not only transfigures our usual understanding of modern art, he also launches a new set of proposals about modernity itself.

    Now a distinguished scholar offers the first comprehensive account of the evolutionary origins of art and storytelling. Brian Boyd explains why we tell stories, how our minds are shaped to understand them, and what difference an evolutionary understanding of human nature makes to stories we love.Art is a specifically human adaptation, Boyd argues. It offers tangible advantages for human survival, and it derives from play, itself an adaptation widespread among more intelligent animals. More particularly, our fondness for storytelling has sharpened social cognition, encouraged cooperation, and fostered creativity.After considering art as adaptation, Boyd examines Homer's "Odyssey" and Dr. Seuss's "Horton Hears a Who!" demonstrating how an evolutionary lens can offer new understanding and appreciation of specific works. What triggers our emotional engagement with these works? What patterns facilitate our responses? The need to hold an audience's attention, Boyd underscores, is the fundamental problem facing all storytellers. Enduring artists arrive at solutions that appeal to cognitive universals: an insight out of step with contemporary criticism, which obscures both the individual and universal. Published for the bicentenary of Darwin's birth and the 150th anniversary of the publication of "Origin of Species, " Boyd's study embraces a Darwinian view of human nature and art, and offers a credo for a new humanism.

    Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.

    He analyzes previous contributions to a Marxist theory of literature from Marx himself to Lukacs, Althusser, and Goldmann, and develops his own approach by outlining a theory of cultural materialism' which integrates Marxist theories of language with Marxist theories of literature. Williams moves from a review of the growth of the concepts of literature and idealogy to a redefinition of determinism' and hegemony'. His incisive discussion of the 'social material process' of cultural activity culminates in a re-examination of the problems of alignment and commitment and of the creative practice in individual authors and wider social groups.

    His range is wide, and his insights are acute, frequently ironic, and often downright funny. Translated by William Weaver. A Helen and Kurt Wolff Book

    First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has."Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation" —Peter Fuller, Arts Review"The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace" —Geoff Dyer in Ways of TellingWinner of the 1972 Booker Prize for his novel, G., John Peter Berger (born November 5th, 1926) is an art critic, painter and author of many novels including A Painter of Our Time, From A to X and Bento’s Sketchbook.

    Peter Watson has produced a fluent and engaging narrative of the intellectual tradition of the twentieth century, and the men and women who created it.

    How does the spectacle of the sufferings of others (via television or newspapers) affect us? Are viewers inured--or incited--to violence by the depiction of cruelty? In Regarding the Pain of Others, Sontag takes a fresh look at the representation of atrocity--from Goya's The Disasters of War to photographs of the American Civil War, lynchings of blacks in the South, and the Nazi death camps, to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, Israel and Palestine, and New York City on September 11, 2001. In Regarding the Pain of Others Susan Sontag once again changes the way we think about the uses and meanings of images in our world, and offers an important reflection about how war itself is waged (and understood) in our time.Features an analysis of our numbed response to images of horror. This title alters our thinking about the uses and meanings of images, and about the nature of war, the limits of sympathy, and the obligations of conscience.

    It ultimately challenges the cultural assumptions of both conservatives and traditional liberals. 47 photographs.

    Bette Davis's eyes, Joan Crawford's bitchy elegance, Stepin Fetchit's stereotype, Sidney Poitier's superhuman black man...  These are the movie stars and the qualities that influenced James Baldwin...  and now become part of his incisive look at racism in American movies.Baldwin challenges the underlying assumptions in such films as In the Heat of the Night, Guess Who's Coming to Dinner, and The Exorcist, offering us a vision of America's self-delusions and deceptions.  Here are our loves and hates, biases and cruelties, fears and ignorance reflected by the films that have entertained us and shaped our consciousness.  And here, too, is the stunning prose of a writer whose passion never diminished his struggle for equality, justice, and social change.From The Birth of a Nation to The Exorcist--one of America's most important writers turns his critical eye to American film.

    Noam Chomsky is universally accepted as one of the preeminent public intellectuals of the modern era. Over the past thirty years, broadly diverse audiences have gathered to attend his sold-out lectures. Now, in Understanding Power, Peter Mitchell and John Schoeffel have assembled the best of Chomsky's recent talks on the past, present, and future of the politics of power. In a series of enlightening and wide-ranging discussions, all published here for the first time, Chomsky radically reinterprets the events of the past three decades, covering topics from foreign policy during Vietnam to the decline of welfare under the Clinton administration. And as he elucidates the connection between America's imperialistic foreign policy and the decline of domestic social services, Chomsky also discerns the necessary steps to take toward social change. With an eye to political activism and the media's role in popular struggle, as well as U.S. foreign and domestic policy, Understanding Power offers a sweeping critique of the world around us and is definitive Chomsky. Characterized by Chomsky's accessible and informative style, this is the ideal book for those new to his work as well as for those who have been listening for years.

    Metaphor, the authors explain, is a fundamental mechanism of mind, one that allows us to use what we know about our physical and social experience to provide understanding of countless other subjects. Because such metaphors structure our most basic understandings of our experience, they are "metaphors we live by", metaphors that can shape our perceptions and actions without our ever noticing them.In this updated edition of Lakoff and Johnson's influential book, the authors supply an afterword surveying how their theory of metaphor has developed within the cognitive sciences to become central to the contemporary understanding of how we think and how we express our thoughts in language.

    A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics.A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There he wrote "Mimesis," publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how from antiquity to the twentieth century literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive--and impassioned--response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours. For many readers, both inside and outside the academy, "Mimesis" is among the finest works of literary criticism ever written.

    Negroponte's fans will want to get a copy of Being Digital, which is an edited version of the 18 articles he wrote for Wired about "being digital." Negroponte's text is mostly a history of media technology rather than a set of predictions for future technologies. In the beginning, he describes the evolution of CD-ROMs, multimedia, hypermedia, HDTV (high-definition television), and more. The section on interfaces is informative, offering an up-to-date history on visual interfaces, graphics, virtual reality (VR), holograms, teleconferencing hardware, the mouse and touch-sensitive interfaces, and speech recognition. In the last chapter and the epilogue, Negroponte offers visionary insight on what "being digital" means for our future. Negroponte praises computers for their educational value but recognizes certain dangers of technological advances, such as increased software and data piracy and huge shifts in our job market that will require workers to transfer their skills to the digital medium. Overall, Being Digital provides an informative history of the rise of technology and some interesting predictions for its future.