We can understand innovations like electricity, agriculture and democracy. The twentieth century, in contrast, gave us relativity, cubism, quantum mechanics, the id, existentialism, Stalin, psychedelics, chaos mathematics, climate change and postmodernism. In order to understand such a disorienting barrage of unfamiliar and knotty ideas, Higgs shows us, we need to shift the framework of our interpretation and view these concepts within the context of a new kind of historical narrative. Instead of looking at it as another step forward in a stable path, we need to look at the twentieth century as a chaotic seismic shift, upending all linear narratives.Higgs invites us along as he journeys across a century “about which we know too much” in order to grant us a new perspective on it. He brings a refreshingly non-academic, eclectic and infectiously energetic approach to his subjects as well as a unique ability to explain how complex ideas connect and intersect—whether he’s discussing Einstein’s theories of relativity, the Beat poets' interest in Eastern thought or the bright spots and pitfalls of the American Dream.

    The West's response to 9/11 has morphed into a period of exception. Governments have decided that the rule of law and human rights are often too costly. In On Liberty, Shami Chakrabarti - who joined Liberty, the UK's leading civil rights organization, on 10 September 2001 - explores why our fundamental rights and freedoms are indispensable. She shows, too, the unprecedented pressures those rights are under today. Drawing on her own work in high-profile campaigns, from privacy laws to anti-terror legislation, Chakrabarti shows the threats to our democratic institutions and why our rights are paramount in upholding democracy.

    The grandness of that history no longer fit into the framework of the present, and artists felt overwhelmed by the magnitude of past heroic accomplishment. This was soon reflected in artistic representation, from Fuseli on. The partial image, the "crop," fragmentation, ruin, and mutilationall expressed grief and nostalgia for the loss of a vanished totality, a utopian wholeness. Often such feelings were expressed in deliberate destructiveness, which became the new way of seeing: the notion of the modern. In The Body in Pieces, the noted critic and art historian Linda Nochlin traces these developments by looking at work produced by artists from Neoclassicism and Romanticism to Impressionism, Post-Impressionism, Surrealism, and beyond. 59 illustrations.

    Baudrillard classifies the everyday objects of the “new technical order” as functional, nonfunctional and metafunctional. He contrasts “modern” and “traditional” functional objects, subjecting home furnishing and interior design to a celebrated semiological analysis. His treatment of nonfunctional or “marginal” objects focuses on antiques and the psychology of collecting, while the metafunctional category extends to the useless, the aberrant and even the “schizofunctional.” Finally, Baudrillard deals at length with the implications of credit and advertising for the commodification of everyday life.The System of Objects is a tour de force of the materialist semiotics of the early Baudrillard, who emerges in retrospect as something of a lightning rod for all the live ideas of the day: Bataille's political economy of “expenditure” and Mauss's theory of the gift; Reisman's lonely crowd and the “technological society” of Jacques Ellul; the structuralism of Roland Barthes in The System of Fashion; Henri Lefebvre's work on the social construction of space; and last, but not least, Guy Debord's situationist critique of the spectacle.

    His theories, which the French press has termed "l'hypothèse girardienne," have sparked interdisciplinary, even international, controversy. In The Scapegoat, Girard applies his approach to "texts of persecution," documents that recount phenomena of collective violence from the standpoint of the persecutor--documents such as the medieval poet Guillaume de Machaut's Judgement of the King of Navarre, which blames the Jews for the Black Death and describes their mass murder.Girard compares persecution texts with myths, most notably with the myth of Oedipus, and finds strikingly similar themes and structures. Could myths regularly conceal texts of persecution? Girard's answers lies in a study of the Christian Passion, which represents the same central event, the same collective violence, found in all mythology, but which is read from the point of view of the innocent victim. The Passion text provides the model interpretation that has enabled Western culture to demystify its own violence--a demystification Girard now extends to mythology.Underlying Girard's daring textual hypothesis is a powerful theory of history and culture. Christ's rejection of all guilt breaks the mythic cycle of violence and the sacred. The scapegoat becomes the Lamb of God; "the foolish genesis of blood-stained idols and the false gods of superstition, politics, and ideologies" are revealed.

    E.P. Thompson shows how the working class took part in its own making & recreates the whole life experience of people who suffered loss of status & freedom, who underwent degradation & who yet created a culture & political consciousness of great vitality. "Thompson's book has been called controversial, but perhaps only because so many have forgotten how explosive England was during the Regency & the early reign of Victoria. Without any reservation, The Making of the English Working Class is the most important study of those days since the classic work of the Hammonds."--Commentary "Mr Thompson's deeply human imagination & controlled passion help us to recapture the agonies, heroisms & illusions of the working class as it made itself. No one interested in the history of the English people should fail to read his book."--Times Literary Supplement

    But an all-star lineup of American feminists here says, "It's not that simple." In a history of proposals and policies on welfare, Wall Street, crime and policing, immigration, international health, and war, Clinton has advanced ideas and laws that have actually hurt women--and restricted the powerful idea of feminism itself. From leading feminist figures like Laura Flanders, Moe Tkacik and Medea Benjamin to a new generation of young women writers and thinkers, this book restores to feminism its revolutionary meaning and outlines how truly robust feminist policies could transform the United States and its relation to the world. Includes essays from prominent feminist writers Liza Featherstone, Laura Flanders, Moe Tkacik, Medea Benjamin, Frances Fox Piven and Fred Block, Donna Murch, Kathleen Geier, Yasmin Nair, Megan Erickson, Tressie McMillan Cotom, Catherine Liu, Amber A'Lee, Magpie Corvid, Belén Fernández, Zillah Eisenstein, and others.

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

    The branding they employ may contain complex systems of meaning and emotion; it conveys the group's beliefs and capabilities. Branding Terror is the first comprehensive survey of the visual identity of the world’s major terrorist organizations, from al-Qaeda and the Popular Front for the Liberation of Palestine to the Tamil Tigers. Each of the 60-plus entries contains a concise description of the group’s ideology, leadership, and modus operandi, and a brief timeline of events. The group’s branding — the symbolism, colors, and typography of its logo and flag — is then analyzed in detail. Branding Terror does not seek to make any political statements; rather, it offers insight into an understudied area of counter-intelligence, and provides an original and provocative source of inspiration for graphic designers.

    They had already made films that redefined the gangster movie, the screwball comedy, the fable, and the film noir, among others. No Country is just one of many Coen brothers films to center on the struggles of complex characters to understand themselves and their places in the strange worlds they inhabit. To

    The principles of individual liberty, the rule of law, government by consent of the people, and the right to private property are taken for granted as fundamental to the human condition now. Most liberal theorists writing today look back to Locke as the source of their ideas. Some maintain that religious fundamentalism, "post-modernism," and socialism are today the only remaining ideological threats to liberalism. To the extent that this is true, these ideologies are ultimately attacks on the ideas that Locke, arguably more than any other, helped to make the universal vocabulary of political discourse.

    In this slim volume, Zinn lays out a clear and dynamic case for civil disobedience and protest, and challenges the dominant arguments against forms of protest that challenge the status quo. Zinn explores the politics of direct action, nonviolent civil disobedience, and strikes, and draws lessons for today.

    In fact it is a very common form of political organisation and one which has characterised much of the human past. People Without Government describes briefly the anarchic political structures of a number of these societies. True they are mainly small-scale hunting, gathering and horticultural groups. However, the social organisation of certain large populations with complex relations is also sometimes anarchic. Thus anarchy applies to a broad spectrum of different kinds of societies. This book seeks to show what anarchy has been like in practice. Special attention is paid to the techniques of leadership, maintaining order and decision-making. The dynamic interplay between freedom and authority is considered, particularly the apparent tendency of anarchic polities to degenerate into states with government and for organisations to become oligarchies, and it is concluded that liberty and individuality are at best very tenuous and fleeting entities. There can be no relenting in the struggle for freedom.

    Many definitions of postmodernism focus on its nature as the aftermath of the modern industrial age when technology developed. This book extends that analysis to postmodernism by looking at the status of science, technology, and the arts, the significance of technocracy, and the way the flow of information is controlled in the Western world.

    With this book in hand, thousands of students have watched the story of art unfold in its full historical, social, religious, economic, and cultural context, and thus deepened their understanding of art, architecture, painting, and sculpture. By virtue of its comprehensive coverage, strong emphasis on context, and rich, accurate art reproductions, GARDNER'S ART THROUGH THE AGES has earned and sustained a reputation of excellence and authority. So much so, that in 2001, the Text and Academic Authors Association awarded both the McGuffey and the "Texty" Book Prizes to the Eleventh Edition of the text. It is the first art history book to win either award and the only title ever to win both prizes in one year. The Twelfth Edition maintains and exceeds the richness of the Gardner legacy with updated research and scholarship and an even more beautiful art program featuring more color images than any other art history book available. The Twelfth Edition features such enhancements as more color photographs, a stunning new design, and the most current research and scholarship. What's more, the expanded ancillary package that accompanies GARDNER'S ART THROUGH THE AGES, features a wealth of tools to enhance your students' experience in the course. With each new copy of the book, students receive a copy of the ArtStudy 2.0 CD-ROM--an interactive electronic study aid that fully integrates with the Twelfth Edition and includes hundreds of high-quality digital images, plus maps, quizzes, and more.