In attempting to interpret such a revolutionary proposition in a more ‘humane’ light, and to turn Kant into our contemporary—someone who can help us with our own ethical dilemmas—many Kantian scholars have glossed over its apparent paradoxes and impossible claims. This book is concerned with doing exactly the opposite. Kant, thank God, is not our contemporary; he stands against the grain of our times. Lacan on the face of it appears the very antithesis of Kant—the wild theorist of psychoanalysis compared to the sober Enlightenment thinker. His concept of the Real, however, provides perhaps the most useful backdrop to this new interpretation of Kantian ethics. Constantly juxtaposing her readings of the two philosophers. Alenka Zupan?i? summons up an ‘ethics of the Real’, and clears the ground for a radical restoration of the disruptive element in ethics.

    Aside from his more directly theoretical texts, however, case-studies of theatrical naturalism, the Bloomsbury group, advertising, science fiction, and the Welsh novel are also included as illustrations of the method at work. Finally, Williams’s identity as an active socialist, rather than simply an academic, is captured by two unambiguously political pieces on the past, present and future of Marxism.

    Here Girard explores violence as it is represented and occurs throughout history, literature and myth. Girard's forceful and thought-provoking analyses of Biblical narrative, Greek tragedy and the lynchings and pogroms propagated by contemporary states illustrate his central argument that violence belongs to everyone and is at the heart of the sacred.

    Gulled by a ‘realism’ that reassures them that political struggle is for anachronistic losers, their allegiances began to slide inexorably toward the ‘revolutionary’ forces of the market’s invisible hand, and they join the celebrants of a new order governed by boredom, impotence and envy…. As might be expected of Châtelet—mathematician, philosopher, militant gay activist, political polemicist, praised by contemporaries such as Deleuze and Badiou for his singularly penetrating philosophical mind—this is no mere lament for a bygone age. To Live and Think Like Pigs is the story of how the perverted legacy of liberalism, allied with statistical control and media communication, sought to knead Marx’s ‘free peasant’ into a statistical ‘average man’—pliant raw material for the cybernetic sausage-machine of postmodernity.Combining the incandescent wrath of the betrayed comrade with the acute discrimination of the mathematician-physicist, Châtelet proceeds to scrutinize the pseudoscientific alibis employed to naturalize ‘market democracy’. As he acerbically recounts, ‘chaos’, ‘emergence’, and the discourses of cybernetics and networks merely impart a futuristic sheen to Hobbesian ‘political arithmetic’ and nineteenth-century ‘social physics’—a tradition that places the individual at the center of its apolitical fairy-tales while stringently ignoring the inherently political process of individuation.When first published in 1998, Châtelet’s book was a fierce revolt against the ‘winter years’ and a mordant theory-science-fiction of the future portended by the reign of Reagan-Thatcher-Mitterand. Today its diagnoses seem extraordinarily prescient: the ‘triple alliance’ between politics, economics and cybernetics; the contrast between the self-satisfied ‘nomadism’ of a global overclass and the cultivated herds of ‘neurolivestock’ whose brains labour dumbly in cybernetic pastures; the arrogance of the ‘knights of finance’; and the limitless complacency and petty envy of middle-class dupes haplessly in thrall to household gods and openly hostile to the pursuit of a freedom that might require patience or labour. Mercantile empiricists and acrobat-intellectuals, fluid nomads and viscous losers, Robinsons on wheels, Turbo-Bécassines and Cyber-Gideons…Châtelet deploys a cast of grotesque ‘philosophical personae’ across a series of expertly-staged set-pieces: from Hobbes’s Leviathan to Wiener’s cybernetics; from the ecstasies of Parisian nightlife to the equilibrial dystopia of Singapore’s ‘yoghurt-maker’; from the mercantile empiricist for whom the state is a glorified watermelon-seller to the coy urbanite with a broken hairdryer; from the ‘petronomadic’ stasis of the traffic jam to the financier chasing the horizon of absolute volatility; from the demonization of cannabis to the fatuous celebration of ‘difference’.To Live and Think Like Pigs is both an uproarious portrait of the evils of the new world order, and a technical manual for its innermost ideological workings. Châtelet’s diagnosis of the ‘neoliberal counter-reformation’ is a significant moment in French political philosophy worthy to stand alongside Deleuze’s ‘Control Society’ and Foucault’s ‘liberal governmentality’. His book is crucial reading for any future politics that wants to replace individualism with an understanding of individuation, libertarianism with liberation, liquidity with plasticity, and the statistical average with the singular exception. Its appearance in translation is an important new contribution to contemporary debate on neoliberalism, economics and capitalist subjectivation.

    I am sure this book will become the reference on both sides of the Atlantic.” — Jacques DerridaDuring the last three decades of the twentieth century, a disparate group of radical French thinkers achieved an improbable level of influence and fame in the United States. Compared by at least one journalist to the British rock ‘n’ roll invasion, the arrival of works by Michel Foucault, Jacques Derrida, Jean-François Lyotard, Jean Baudrillard, Gilles Deleuze, and Félix Guattari on American shores in the late 1970s and 1980s caused a sensation.Outside the academy, 'French theory' had a profound impact on the era’s emerging identity politics while also becoming, in the 1980s, the target of right-wing propagandists. At the same time in academic departments across the country, their poststructuralist form of radical suspicion transformed disciplines from literature to anthropology to architecture. By the 1990s, French theory was woven deeply into America’s cultural and intellectual fabric.French Theory is the first comprehensive account of the American fortunes of these unlikely philosophical celebrities. François Cusset looks at why America proved to be such fertile ground for French theory, how such demanding writings could become so widely influential, and the peculiarly American readings of these works. Reveling in the gossipy history, Cusset also provides a lively exploration of the many provocative critical practices inspired by French theory. Ultimately, he dares to shine a bright light on the exultation of these thinkers to assess the relevance of critical theory to social and political activism today-showing, finally, how French theory has become inextricably bound with American life.

    Strasser and published in the first volume of Husserliana: Cartesianische Meditationen und Pariser Vortrage, ISBN 90-247-0214-3. Most of Husserl's emendations, as given in the Appendix to that volume, have been treated as if they were part of the text. The others have been translated in footnotes. Secondary consideration has been given to a typescript (cited as "Typescript C") on which Husserl wrote in 1933: "Cartes. Meditationen / Original text 1929 / E. Husserl / fur Dorion Cairns." Its use of emphasis and quotation marks conforms more closely to Husserl's practice, as exemplified in works published during his lifetime. In this respect the translation usually follows Typescript C. Moreover, some of the variant readings n this typescript are preferable and have been used as the basis for the translation. Where that is the case, the published text is given or translated in a footnote. The published text and Typescript C have been compared with the French translation by Gabrielle Pfeiffer and Emmanuel Levinas (Paris, Armand Collin, 1931). The use of emphasis and quotation marks in the French translation corresponds more closely to that in Typescript C than to that in the published text. Often, where the wording of the published text and that of Typescript C differ, the French translation indicates that it was based on a text that corresponded more closely to one or the other - usually to Typescript C. In such cases the French translation has been quoted or cited in a foornote."

    Contrary to an emerging "post-analytic" consensus which would bridge the analytic-continental divide by uniting Heidegger and Wittgenstein against the twin perils of scientism and skepticism, this book short-circuits both traditions by plugging eliminative materialism directly into speculative realism.

    "Savoir," by Hélène Cixous, is a brief but densely layered account of her experience of recovered sight after a lifetime of severe myopia, an experience that ends with the unexpected turn of grieving for what is lost. Her literary inventiveness mines the coincidence in French between the two verbs savoir (to know) and voir (to see). Jacques Derrida's "A Silkworm of One's Own" complexly muses on a host of autobiographical, philosophical, and religious motifs—including his varied responses to "Savoir." The two texts are accompanied by six beautiful and evocative drawings that play on the theme of drapery over portions of the body.Veils suspends sexual difference between two homonyms: la voile (sail) and le voile (veil). A whole history of sexual difference is enveloped, sometimes dissimulated here—in the folds of sails and veils and in the turns, journeys, and returns of their metaphors and metonymies.However foreign to each other they may appear, however autonomous they may be, the two texts participate in a common genre: autobiography, confession, memoirs. The future also enters in: by opening to each other, the two discourses confide what is about to happen, the imminence of an event lacking any common measure with them or with anything else, an operation that restores sight and plunges into mourning the knowledge of the previous night, a "verdict" whose threatening secret remains out of reach by our knowledge.

    To demonstrate the sense in which Foucault's work is beyond structuralism and hermeneutics, the authors unfold a careful, analytical exposition of his oeuvre. They argue that during the of Foucault's work became a sustained and largely successful effort to develop a new method—"interpretative analytics"—capable fo explaining both the logic of structuralism's claim to be an objective science and the apparent validity of the hermeneutical counterclaim that the human sciences can proceed only by understanding the deepest meaning of the subject and his tradition. "There are many new secondary sources [on Foucault]. None surpass the book by Hubert Dreyfus and Paul Rabinow. . . . The American paperback edition contains Foucault's 'On the Genealogy of Ethics,' a lucid interview that is now our best source for seeing how he construed the whole project of the history of sexuality."—David Hoy, London Review of Books

    In Bakhtin's view, the spirit of laughter and irreverence prevailing at carnival time is the dominant quality of Rabelais's art. The work of both Rabelais and Bakhtin springs from an age of revolution, and each reflects a particularly open sense of the literary text. For both, carnival, with its emphasis on the earthly and the grotesque, signified the symbolic destruction of authority and official culture and the assertion of popular renewal. Bakhtin evokes carnival as a special, creative life form, with its own space and time.Written in the Soviet Union in the 1930s at the height of the Stalin era but published there for the first time only in 1965, Bakhtin's book is both a major contribution to the poetics of the novel and a subtle condemnation of the degeneration of the Russian revolution into Stalinist orthodoxy. One of the essential texts of a theorist who is rapidly becoming a major reference in contemporary thought, Rabelais and His World is essential reading for anyone interested in problems of language and text and in cultural interpretation.

    He argues that the only feasible explanations of scientific successes are historical explanations, and that anarchism must now replace rationalism in the theory of knowledge.

    A lively and still one of the best introductions to philosophy, this book pays off both a closer reading for students and specialists, and a casual reading for the general public.

    Adopting the viewpoints of two distinct figures with radically different beliefs--the aesthetic young man of Part One, called simply 'A', and the ethical Judge Vilhelm of the second section--Kierkegaard reflects upon the search for a meaningful existence, contemplating subjects as diverse as Mozart, drama, boredom, and, in the famous Seducer's Diary, the cynical seduction and ultimate rejection of a young, beautiful woman. A masterpiece of duality, Either/Or is an exploration of the conflict between the aesthetic and the ethical--both meditating ironically and seductively upon Epicurean pleasures, and eloquently expounding the noble virtues of a morally upstanding life.This lightly abridged edition fully conveys the vigour and eloquence of the original. Alastair Hannay's introduction explains the philosophical background to the work and places it in the context of its times.

    The unstated objective of his lecture (“Existentialism Is a Humanism”) was to expound his philosophy as a form of “existentialism,” a term much bandied about at the time. Sartre asserted that existentialism was essentially a doctrine for philosophers, though, ironically, he was about to make it accessible to a general audience. The published text of his lecture quickly became one of the bibles of existentialism and made Sartre an international celebrity.The idea of freedom occupies the center of Sartre’s doctrine. Man, born into an empty, godless universe, is nothing to begin with. He creates his essence—his self, his being—through the choices he freely makes (“existence precedes essence”). Were it not for the contingency of his death, he would never end. Choosing to be this or that is to affirm the value of what we choose. In choosing, therefore, we commit not only ourselves but all of mankind.This book presents a new English translation of Sartre’s 1945 lecture and his analysis of Camus’s The Stranger, along with a discussion of these works by acclaimed Sartre biographer Annie Cohen-Solal. This edition is a translation of the 1996 French edition, which includes Arlette Elkaïm-Sartre’s introduction and a Q&A with Sartre about his lecture.

    Jacques Rancière reveals its intrinsic link to politics by analysing what they both have in common: the delimitation of the visible and the invisible, the audible and the inaudible, the thinkable and the unthinkable, the possible and the impossible. Presented as a set of inter-linked interviews, The Politics of Aesthetics provides the most comprehensive introduction to Rancière's work to date, ranging across the history of art and politics from the Greek polis to the aesthetic revolution of the modern age. Already translated into five languages, this English edition of The Politics of Aesthetics includes a new afterword by Slavoj Zizek, an interview for the English edition, a glossary of technical terms and an extensive bibliography.