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.

    Brings together three hilarious pieces by America's comic genius: Without Feathers, a secret journal that addresses life's "big" questions; Getting Even, Woody as psychologist, historian, and philosopher; and Side Effects, Woody's take on UFOs and more.

    Petr Beckmann holds up this mirror, giving the background of the times when pi made progress -- and also when it did not, because science was being stifled by militarism or religious fanaticism.

    The fundamental questions are answered, leaving only the details to be filled in. In this book, Dr Rupert Sheldrake, one of the world's most innovative scientists, shows that science is being constricted by assumptions that have hardened into dogmas. The 'scientific worldview' has become a belief system. All reality is material or physical. The world is a machine, made up of dead matter. Nature is purposeless. Consciousness is nothing but the physical activity of the brain. Free will is an illusion. God exists only as an idea in human minds, imprisoned within our skulls. Sheldrake examines these dogmas scientifically, and shows persuasively that science would be better off without them: freer, more interesting, and more fun.In The God Delusion Richard Dawkins used science to bash God, but here Rupert Sheldrake shows that Dawkins' understanding of what science can do is old-fashioned and itself a delusion.

    But they also breathe a sigh of relief when the action is over, when they are able to close their books or leave the movie theater. Whether serious, kitschy, frightening, or ridiculous, horror not only arouses the senses but also raises profound questions about fear, safety, justice, and suffering. From literature and urban legends to film and television, horror's ability to thrill has made it an integral part of modern entertainment. Thomas Fahy and twelve other scholars reveal the underlying themes of the genre in The Philosophy of Horror. Examining the evolving role of horror, the contributing authors investigate works such as Mary Shelley's Frankenstein (1818), horror films of the 1930s, Stephen King's novels, Stanley Kubrick's adaptation of The Shining (1980), and Alfred Hitchcock's Psycho (1960). Also examined are works that have largely been ignored in philosophical circles, including Truman Capote's In Cold Blood (1965), Patrick S�skind's Perfume (1985), and James Purdy's Narrow Rooms (2005). The analysis also extends to contemporary forms of popular horror and "torture-horror" films of the last decade, including Saw (2004), Hostel (2005), The Devil's Rejects (2005), and The Hills Have Eyes (2006), as well as the ongoing popularity of horror on the small screen. The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism. The book invites readers to consider horror's various manifestations and transformations since the late 1700s, probing its social, cultural, and political functions in today's media-hungry society.

    Has the 21st century resolved the question of postmodernism or are we more than ever ensnared in its perplexities? Postmodernism seemed to promise an end to the grim Cold War era of nuclear confrontation and oppressive ideologies. Fukuyama's notoriously proclaimed end of history, the triumph of liberal democracy over Communist tyranny, has proved an illusion. We awoke in the anxious grip of globalization, unpredictable terrorism and unforeseen war. Introducing Postmodernism traces the pedigrees of postmodernism in art, theory, science and history, providing an urgent guide to the present. Derrida, Baudrillard, Foucault and many other icons of postmodern complexity are brilliantly elucidated by Richard Appignanesi and enlivened by the Guardian's Biff cartoonist Chris Garratt.

    The noted Stanford University psychiatrist distills the essence of a wide range of therapies into a masterful, creative synthesis, opening up a new way of understanding each person's confrontation with four ultimate concerns: isolation, meaninglessness, death, and freedom.

    Barks's translations capture the inward exploration and intensity that characterize Rumi's poetry, making this unique voice of mysticism and desire contemporary while remaining true to the original poems. In this volume readers will encounter the essence of Sufism's insights into the experience of divine love, wisdom, and the nature of both humanity and God.While Barks's stamp on this collection is clear, it is Rumi's voice that leaps off these pages with a rapturous power that leaves readers breathless. These poems express our deepest yearning for the transcendent connection with the source of the divine: there are passionate outbursts about the torment of longing for the beloved and the sweet delight that comes from union; stories of sexual adventures and of loss; poems of love and fury, sadness and joy; and quiet truths about the beauty and variety of human emotion. For Rumi, soul and body and emotion are not separate but are rather part of the great mystery of mortal life, a riddle whose solution is love. Above all else, Rumi's poetry exposes us to the delight that comes from being fully alive, urging us always to put aside our fears and take the risk of discovering our core self:No one knows what makes the soul wake up so happy! Maybe a dawn breeze has blown the veil from the face of God. These fresh, original translations magnificently convey Rumi's insights into the human heart and its longings with his signature passion and daring, focusing on the ecstatic experience of the inseparability of human and divine love. The match between Rumi's sublime poetry and Coleman Barks's poetic art are unequaled, and here this artistic union is raised to new heights.

    Infused with a love of learning, compelling in its arguments for a unifying written culture, it argues brilliantly against the politicization of literature and presents a guide to the great works of the western literary tradition and essential writers of the ages. The Western Canon was nominated for the National Book Critics Circle Award.

    Challenging the reductionist division of people by race, religion, and class, Sen presents an inspiring vision of a world that can be made to move toward peace as firmly as it has spiraled in recent years toward brutality and war.

    In this first anthology of its kind, Carey chooses accounts by scientists themselves--astronomers and physicists, biologists, chemists, psychologists--that are both arrestingly written and clear. Contributors include Carl Sagan, Charles Darwin, Stephen Jay Gould, Oliver Sacks, Lewis Thomas, Rachel Carson, Sigmund Freud, Henry David Thoreau, Mark Twain, and scores of others.

    This classic work of the sixteenth century political philosopher, in reply to Machiavelli's The Prince, seeks to answer the question of why people submit to the tyranny of government, and as such, has exerted an important influence on the traditions of dissidence from Thoreau and Ralph Waldo Emerson, to Tolstoy, to Gandhi.

    In considering all the main philosophical issues involved -- how we know that something is a fact, that our senses and memory don't deceive us, that other people are conscious in the same way that we are -- he throws a clear light on the nature of our fundamental beliefs and provides an outstanding example of the philosophical mind at work.

    Accessibly written and assuming no previous knowledge of the subject, it encourages the reader tothink clearly and critically about the leading political questions of our time.Miller first investigates how political philosophy tackles basic ethical questions such as 'how should we live together in society?' He furthermore looks at political authority, discusses the reasons society needs politics in the first place, explores the limitations of politics, and asks if thereare areas of life that shouldn't be governed by politics. Moreover, he explores the connections between political authority and justice, a constant theme in political philosophy, and the ways in which social justice can be used to regulate rather than destroy a market economy.In his travels through this realm, Miller covers why nations are the natural units of government and wonders if the rise of multiculturalism and transnational co-operation will change all this, and asks in the end if we will ever see the formation of a world government.About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundredsof key topics, from philosophy to Freud, quantum theory to Islam.

    Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and paid scant attention to psychological realism, while highlighting their characters’ inability to understand one another. In 1961, Martin Esslin gave a name to the phenomenon in his groundbreaking study of these playwrights who dramatized the absurdity at the core of the human condition.Over four decades after its initial publication, Esslin’s landmark book has lost none of its freshness. The questions these dramatists raise about the struggle for meaning in a purposeless world are still as incisive and necessary today as they were when Beckett’s tramps first waited beneath a dying tree on a lonely country road for a mysterious benefactor who would never show. Authoritative, engaging, and eminently readable, The Theatre of the Absurd is nothing short of a classic: vital reading for anyone with an interest in the theatre.