He's put it all in: the origins of Marxist philosophy, history, economics; of capital, labor, the class struggle, socialism. And there's a biography of "Charlie" Marx besides.Like the companion volumes in the series, Marx for Beginners is accurate, understandable, and very, very funny.

    But although he lived in the German golden age of Goethe, Schiller and Mozart, he also believed that art was in terminal decline.To resolve this apparent paradox, as Michael Inwood explains in his incisive Introduction, we must understand the particular place of aesthetics in Hegel's vast intellectual edifice. Its central pillars consist of logic, philosophy of nature and philosophy of spirit. Art derives its value from offering a sensory vision of the God-like absolute, from its harmonious fusion of form and content, and from summing up the world-view of an age such as Homer's. While it scaled supreme heights in ancient Greece, Hegel doubted art's ability to encompass Christian belief or the reflective irony characteristic of modern societies. Many such challenging ideas are developed in this superb treatise; it counts among the most stimulating works of a master thinker.Table of ContentsIntroductory Lectures on Aesthetics Introduction A Note on the Translation and CommentaryINTRODUCTORY LECTURES ON AESTHETICSChapter I: The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted[α Aesthetic confined to Beauty of Artβ Does Art merit Scientific Treatment?γ Is Scientific Treatment appropriate to Art?δ Answer to βε Answer to γ]Chapter II: Methods of Science Applicable to Beauty and Art[1. Empirical Method - Art-scholarship(a) Its Range(b) It generates Rules and Theories(c) The Rights of Genius2. Abstract Reflection3. The Philosophical Conception of Artistic Beauty, general notion of]Chapter III: The Conception of Artistic BeautyPart I - The Work of Art as Made and as Sensuous1. Work of Art as Product of Human Activity[(a) Conscious Production by Rule(b) Artistic Inspiration(c) Dignity of Production by Man(d) Man's Need to produce Works of Art]2. Work of Art as addressed to Man's Sense[(a) Object of Art - Pleasant Feeling?(b) Feeling of Beauty - Taste(c) Art-scholarship(d) Profounder Consequences of Sensuous Nature of Art(α) Relations of the Sensuous to the Mind(αα) Desire(ββ) Theory(γγ) Sensuous as Symbol of Spiritual(β) The Sensuous Element, how Present in the Artist(γ) The Content of Art Sensuous]Part II - The End of Art3. [The Interest or End of Art(a) Imitation of Nature?(α) Mere Repetition of Nature is -(αα) Superfluous(ββ) Imperfect(γγ) Amusing Merely as Sleight of Hand(β) What is Good to Imitate?(γ) Some Arts cannot be called Imitative(b) Humani nihil - ?(c) Mitigation of the Passions?(α) How Art mitigates the Passions(β) How Art purifies the Passions(αα) It must have a Worthy Content(ββ) But ought not to be Didactic(γγ) Nor explicitly addressed to a Moral Purpose(d) Art has its own Purpose as Revelation of Truth]Chapter IV: Historical Deducation of the True Idea of Art in Modern Philosophy1. Kant[(a) Pleasure in Beauty not Appetitive(b) Pleasure in Beauty Universal(c) The Beautiful in its Teleological Aspect(d) Delight in the Beautiful necessary though felt]2. Schiller, Winckelmann, Schelling3. The IronyChapter V: Division of the Subject[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form2. Part I - The Ideal3. Part II - The Types of Art(α) Symbolic Art(β) Classical Art(γ) Romantic Art4. Part III - The Several Arts(α) Architecture(β) Sculpture(γ) Romantic Art, comprising(i) Painting(ii) Music(iii) Poetry5. Conclusion]Commentary

    A series of three ~40-page pamphlets written by Jacobin and Catalyst Magazine explaining capitalism and it's relationship to the state and class struggle.

    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.

    It was built on the twentieth-century magic called 'the planned economy', which was going to gush forth an abundance of good things that lands of capitalism could never match. And just for a little while, in the heady years of the late 1950's, the magic seemed to be working.Red Plenty is about that moment in history, and how it came, and how it went away; about the brief era when, under the rash leadership of Nikita Khrushchev, the Soviet Union looked forward to a future of rich communists and envious capitalists, when Moscow would out-glitter Manhattan, and every Lada would be better engineered than a Porsche. It's about the scientists who did their genuinely brilliant best to make the dream come true, it give the tyranny its happy ending. It's history, it's fiction. It's a comedy of ideas, and a novel about the cost of ideas.By award-winning (and famously unpredictable) author of The Child That Books Built and Backroom Boys, Red Plenty is as ambitious as Sputnik, as uncompromising as an Aeroflot flight attendant - and as different from what you were expecting as a glass of Soviet champagne.

    Drawing upon years of research, acclaimed biographer Mary Gabriel brings to light the story of Karl and Jenny Marx's marriage. We follow them as they roam Europe, on the run from governments amidst an age of revolution and a secret network of would-be revolutionaries, and see Karl not only as an intellectual, but as a protective father and loving husband, a revolutionary, a jokester, a man of tremendous passions, both political and personal. In LOVE AND CAPITAL, Mary Gabriel has given us a vivid, resplendent, and truly human portrait of the Marxes-their desires, heartbreak and devotion to each other's ideals.

    Essential reading for students and anyone interested in the great philosophers, this book opens up appreciation of Heidegger beyond the study of philosophy to the reaches of poetry and our fundamental relationship to the world. Featuring "The Origin of the Work of Art," a milestone in Heidegger's canon, this enduring volume provides potent, accessible entry to one of the most brilliant thinkers of modern times.

    With the stunning popularity of Bernie Sanders and Alexandria Ocasio-Cortez, Americans are embracing the class politics of socialism. But what, exactly, is socialism? And what would a socialist system in America look like? The editor of Jacobin magazine, Sunkara shows that socialism, though often seen primarily as an economic system, in fact offers the means to fight all forms of oppression, including racism and sexism. The ultimate goal is not Soviet-style planning, but to win rights to healthcare, education, and housing, and to create new democratic institutions in workplaces and communities. A primer on socialism for the 21st century, this is a book for anyone seeking an end to the vast inequities of our age.

    Between 1900 and 1920, Russia underwent a complete and irreversible transformation: by the end of these two decades, a new regime was in place, the economy had collapsed, and over 20 million Russians had died during the revolution and what followed. Still, Bolshevik power remained intact due to a remarkable combination of military prowess, violent terror tactics, and the failures of their opposition. And as McMeekin shows, Russia's revolutionaries were aided at nearly every step by countries like Germany and Sweden who sought to benefit—politically and economically—from the chaotic changes overtaking the country.The first comprehensive history of these momentous events in a decade, The Russian Revolution combines cutting-edge scholarship and a fast-paced narrative to shed new light on a great turning point of the twentieth century.

    The second chapter considers the way in which the West was seen at the time by residents of Central and Eastern Europe, while the third outlines the practice of Ketman, the act of paying lip service to authority while concealing personal opposition, describing seven forms applied in the people's democracies of mid-20th century Europe.The four chapters at the heart of the book then follow, each a portrayal of a gifted Polish man who capitulated, in some fashion, to the demands of the Communist state. They are identified only as Alpha, the Moralist; Beta, The Disappointed Lover; Gamma, the Slave of History; and Delta, the Troubadour. However, each of the four portraits were easily identifiable: Alpha is Jerzy Andrzejewski, Beta is Tadeusz Borowski, Gamma is Jerzy Putrament and Delta is Konstanty Ildefons Gałczyński.The book moves toward its climax with an elaboration of "enslavement through consciousness" in the penultimate chapter and closes with a pained and personal assessment of the fate of the Baltic nations in particular.

    Politics. Critical Theory. Art. In 1957 a few European avant-garde groups came together to form the Situationist International. Picking up where the dadaists and surrealists had left off, the situationists challenged people's passive conditioning with carefully calculated scandals and the playful tactic of detournement. Seeking a more extreme social revolution than was dreamed of by most leftists, they developed an incisive critique of the global spectacle-commodity system and of its "Communist" pseudo-opposition, and their new methods of agitation helped trigger the May 1968 revolt in France. Since then although the SI itself was dissolved in 1972 situationist theories and tactics have continued to inspire radical currents all over the world. The SITUATIONIST INTERNATIONAL ANTHOLOGY, generally recognized as the most comprehensive and accurately translated collection of situationist writings in English, presents a rich variety of articles, leaflets, graffiti and internal documents, ranging from early experiments in "psychogeography" to lucid analyses of the Watts riot, the Vietnam War, the Prague Spring, the Chinese Cultural Revolution and other crises and upheavals of the sixties. For this new edition the translations have all been fine-tuned and over 100 pages of new material have been added."

    The book begins with a consideration of the theoretical and practical strategies of the U.S. left over the last three decades: Reed argues against the solipsistic approaches of cultural or identity politics, and in favor of class-based political interpretation and action.Class Notes moves on to tackle race relations, ethnic studies, family values, welfare reform, the so-called underclass, and black public intellectuals in essays called “head-spinning” and “brilliantly executed” by David Levering Lewis.Adolph Reed Jr. has earned a national reputation for his controversial evaluations of American politics. These essays illustrate why people like Katha Pollitt consider Reed “the smartest person of any race, class, or gender writing on race, class, and gender.”

    Their remarkable success appears to vindicate the old idea that modern society is too complex to be subjected to a plan. And yet, as Leigh Phillips and Michal Rozworski argue, much of the economy of the West is centrally planned at present. Not only is planning on vast scales possible, we already have it and it works. The real question is whether planning can be democratic. Can it be transformed to work for us?An engaging, polemical romp through economic theory, computational complexity, and the history of planning, The People’s Republic of Walmart revives the conversation about how society can extend democratic decision-making to all economic matters. With the advances in information technology in recent decades and the emergence of globe-straddling collective enterprises, democratic planning in the interest of all humanity is more important and closer to attainment than ever before.

    Austerity is forcing millions into poverty and many more into precarious work, while the left remains trapped in stagnant political practices that offer no respite. Inventing the Future is a bold new manifesto for life after capitalism. Against the confused understanding of our high-tech world by both the right and the left, this book claims that the emancipatory and future-oriented possibilities of our society can be reclaimed. Instead of running from a complex future, Nick Srnicek and Alex Williams demand a postcapitaiist economy capable of advancing standards, liberating humanity from work and developing technologies that expand our freedoms.

    Astonishing in the sheer detail it amasses, the book is the first comprehensive attempt to catalogue and analyze the crimes of Communism over seventy years.Revolutions, like trees, must be judged by their fruit, Ignazio Silone wrote, and this is the standard the authors apply to the Communist experience--in the China of the Great Helmsman, Kim Il Sung's Korea, Vietnam under Uncle Ho and Cuba under Castro, Ethiopia under Mengistu, Angola under Neto, and Afghanistan under Najibullah. The authors, all distinguished scholars based in Europe, document Communist crimes against humanity, but also crimes against national and universal culture, from Stalin's destruction of hundreds of churches in Moscow to Ceausescu's leveling of the historic heart of Bucharest to the widescale devastation visited on Chinese culture by Mao's Red Guards.As the death toll mounts--as many as 25 million in the former Soviet Union, 65 million in China, 1.7 million in Cambodia, and on and on--the authors systematically show how and why, wherever the millenarian ideology of Communism was established, it quickly led to crime, terror, and repression. An extraordinary accounting, this book amply documents the unparalleled position and significance of Communism in the hierarchy of violence that is the history of the twentieth century.