Although translations of the essays have appeared individually in a variety of places, this is the first English translation to bring them together as Heidegger intended. It is an invaluable resource for all students of Heidegger, whether they study philosophy, literary theory, religious studies, or intellectual history.

    This book is a record of their discussions over three weeks in the spring of 1956, recorded with a view to the production of a contemporary version of The Communist Manifesto. A philosophical jam-session in which the two thinkers improvise freely, often wildly, on central themes of their work—theory and practice, labor and leisure, domination and freedom—in a political register found nowhere else in their writing. Amid a careening flux of arguments, aphorisms and asides, in which the trenchant alternates with the reckless, the playful with the ingenuous, positions are swapped and contradictions unheeded, without any compulsion for consistency.A thrilling example of philosophy in action and a compelling map of a possible passage to a new world.

    The groups selected are peoples whose traditional cultures are uniquely their own. Each has distinctive patterns and practices; each has faced the challenge of an encroaching world, with differing results. Moreover, they often provide the prime illustrations of important concepts in introductory anthropology course including Azande witchcraft, Ju/'hoansi egalitarianism, Trobriand kula exchange, and Minangkabau matriliny. As such, this volume can stand alone as an introduction to central ethnographic concepts through these 15 societies, or serve as a valuable companion to anthropology texts. Many of the peoples presented are involved in the diaspora; some struggle to preserve old ways in new places. All sketches follow a logical, consistent organization that makes it easy for students to understand major themes such as history, subsistence, sociopolitical organization, belief systems, marriage, kinship, and contemporary issues.

    Le Goff argues that the doctrine of Purgatory did not appear in the Latin theology of the West before the late twelfth century, that the word purgatorium did not exist until then. He shows that the growth of a belief in an intermediate place between Heaven and Hell was closely bound up with profound changes in the social and intellectual reality of the Middle Ages. Throughout, Le Goff makes use of a wealth of archival material, much of which he has translated for the first time, inviting readers to examine evidence from the writings of great, obscure, or anonymous theologians.

    He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media's reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database.Manovich uses concepts from film theory, art history, literary theory, and computer science and also develops new theoretical constructs, such as cultural interface, spatial montage, and cinegratography. The theory and history of cinema play a particularly important role in the book. Among other topics, Manovich discusses parallels between the histories of cinema and of new media, digital cinema, screen and montage in cinema and in new media, and historical ties between avant-garde film and new media.

    From plays to official events to grassroots protests, performance, she argues, must be taken seriously as a means of storing and transmitting knowledge. Taylor reveals how the repertoire of embodied memory—conveyed in gestures, the spoken word, movement, dance, song, and other performances—offers alternative perspectives to those derived from the written archive and is particularly useful to a reconsideration of historical processes of transnational contact. The Archive and the Repertoire invites a remapping of the Americas based on traditions of embodied practice.Examining various genres of performance including demonstrations by the children of the disappeared in Argentina, the Peruvian theatre group Yuyachkani, and televised astrological readings by Univision personality Walter Mercado, Taylor explores how the archive and the repertoire work together to make political claims, transmit traumatic memory, and forge a new sense of cultural identity. Through her consideration of performances such as Coco Fusco and Guillermo Gómez-Peña’s show Two Undiscovered Amerindians Visit . . . , Taylor illuminates how scenarios of discovery and conquest haunt the Americas, trapping even those who attempt to dismantle them. Meditating on events like those of September 11, 2001 and media representations of them, she examines both the crucial role of performance in contemporary culture and her own role as witness to and participant in hemispheric dramas. The Archive and the Repertoire is a compelling demonstration of the many ways that the study of performance enables a deeper understanding of the past and present, of ourselves and others.

    Now classics scholar James Davidson offers a brilliant, unblushing exploration of the passion that permeated Greek civilization. Using homosexuality as a lens, Davidson sheds new light on every aspect of Greek culture, from politics and religion to art and war. With stunning erudition and irresistible wit–and without moral judgment–Davidson has written the first major examination of homosexuality in ancient Greece since the dawn of the modern gay rights movement. What exactly did same-sex love mean in a culture that had no word or concept comparable to our term “homosexuality”? How sexual were these attachments? When Greeks spoke of love between men and boys, how young were the boys, how old were the men? Drawing on examples from philosophy, poetry, drama, history, and vase painting, Davidson provides fascinating answers to questions that have vexed scholars for generations. To begin, he defines the essential Greek words for romantic love–eros, pothos, philia–and explores the shades of emotion and passion embodied in each. Then, exploding the myth of Greek “boy love,” Davidson shows that Greek same-sex pairs were in fact often of the same generation, with boys under eighteen zealously separated from older boys and men.Davidson argues that the essence of Greek homosexuality was “besottedness”–falling head over heels and “making a great big song and dance about it,” though sex was certainly not excluded. With refreshing candor, humor, and an astonishing command of Greek culture, Davidson examines how this passion played out in the myths of Ganymede and Cephalus, in the lives of archetypal Greek heroes such as Achilles, Heracles, and Alexander, in the politics of Athens and the army of lovers that defended Thebes. He considers the sexual peculiarities of Sparta and Crete, the legend and truth surrounding Sappho, and the relationship between Greek athletics and sexuality.Writing with the energy, vitality, and irony that the subject deserves, Davidson has elucidated the ruling passion of classical antiquity. Ultimately The Greeks and Greek Love is about how desire–homosexual and heterosexual–is embodied in human civilization. At once scholarly and entertaining, this is a book that sheds as much light on our own world as on the world of Homer, Plato, and Alexander.

    In keeping with his reputation for writing about big ideas in an illuminating and graceful way, he shows how sports respond to deep human needs; describes the ways in which baseball, football and basketball became national institutions and how they reached their present forms; and covers the evolution of rules, the rise and fall of the most successful teams, and the historical significance of the most famous and influential figures such as Babe Ruth, Vince Lombardi, and Michael Jordan. Whether he is writing about baseball as the agrarian game, football as similar to warfare, basketball as the embodiment of post-industrial society, or the moral havoc created by baseball's designated hitter rule, Mandelbaum applies the full force of his learning and wit to subjects about which so many Americans care passionately: the games they played in their youth and continue to follow as adults. By offering a fresh and unconventional perspective on these games, The Meaning of Sports makes for fascinating and rewarding reading both for fans and newcomers.

    has been involved in some of the most sensational cases of our time. Now Grave Secrets takes you on a personal tour behind the scenes of these notorious incidents-touching on cases as varied as O.J. Simpson, Vincent Foster, and even the much-publicized "Alien Autopsy." Through shocking eyewitness testimony and crucial findings of facts, Cyril Wecht's expert opinion is sure to enlighten and fascinate true crime fans everywhere! � Newly updated for paperback! br� GRAVE SECRETS provides controversial and stunning revelations, such as: br� Evidence pointing to a second killer in the O.J. Simpson murder case br� Whether or not White House counselVincent Foster really committed suicide br� Why the secrets surrounding the "Alien Autopsy" continue to elude the public br� Cyril Wecht has provided expert commentary on "20/20," "Nightline," "The Larry King Show," and news specials with Dan Rather, Geraldo Rivera, Tom Snyder, and Maury Povich br� Cyril Wecht is the former president of both the American Academy of Forensic Science and the American College of Legal Medicine br� Contains 8 pages of compelling photos

    It documents her experience visiting the continent of Antarctica in January 2019 with photos taken by New Zealand photographer Harriet Were. Lorde expressed an interest in exploring the region of Antarctica since she was old enough to read. In January 2019, she visited Scott Base and McMurdo Station, Antarctica, travelling as an Antarctic Ambassador. During her visit, she observed microscopic species in environmental laboratories and spoke with scientists. Lorde described the book as "sort of a perfect precursor" to her upcoming third studio album. It will feature over 100 pages of images taken by New Zealand photographer Harriet Were and writings from Lorde. All proceeds will be used to fund a postgraduate scholarship created by Antarctica New Zealand, a government agency.

     Donna Tartt's Pulitzer Prize-winning, #1 New York Times bestselling novel, The Goldfinch, introduced millions of readers to a painting that becomes a lifelong obsession. Painted in 1654 by Carel Fabritius, the work is of a small bird, chained to its perch. This mysterious portrait, a masterpiece of the Dutch Golden Age, has been lost and found, adored and abandoned, for nearly four centuries. Now more famous than ever, this painting is the subject of its own book—a look behind the scenes at its creation and the tumultuous life of its creator. This gripping, true story of adventure, romance, and artistic fervor has never before been told and will enthrall readers of the now famous novel. Set against the vibrant backdrop of Holland in the seventeenth century, when it was the economic capital of the world, the book is populated by a glittering crowd of the wealthy and young, high society with appetites for success and excess. Holland was the center of the art world as well, boasting both Rembrandt, (Fabritius' mentor), and Vermeer (his rival). And there is Carel Fabritius himself—handsome, talented, hell-bent on greatness, but unable to escape tragedy. Yet through The Goldfinch, he achieves immortality. Deborah Davis is the author of the best-selling Strapless: John Singer Sargent and the Fall of Madame X, Party of the Century: The Fabulous Story of Truman Capote and His Black and White Ball, Gilded: How Newport Became the Richest Resort in America, and the prize-winning Guest of Honor: Booker T. Washington, Theodore Roosevelt, and the White House Dinner that Shocked a Nation. Cover design by Adil Dara

    This thoroughly revised and updated second edition of The Visual Culture Reader brings together key writings as well as specially commissioned articles covering a wealth of visual forms including photography, painting, sculpture, fashion, advertising, television, cinema and digital culture.The Reader features an introductory section tracing the development of visual culture studies in response to globalization and digital culture, and articles grouped into thematic sections, each prefaced by an introduction by the editor and conclude with suggestions for further reading.

    As the idea of childhood innocence took hold, it became racialized: popular culture constructed white children as innocent and vulnerable while excluding black youth from these qualities. Actors, writers, and visual artists then began pairing white children with African American adults and children, thus transferring the quality of innocence to a variety of racial-political projects—a dynamic that Robin Bernstein calls “racial innocence.” This phenomenon informed racial formation from the mid-19th century through the early 20th century.Racial Innocence takes up a rich archive including books, toys, theatrical props, and domestic knickknacks which Bernstein analyzes as “scriptive things” that invite or prompt historically located practices while allowing for resistance and social improvisation. Integrating performance studies with literary and visual analysis, Bernstein offers singular readings of theatrical productions, from blackface minstrelsy to Uncle Tom’s Cabin to The Wonderful Wizard of Oz; literary works by Joel Chandler Harris, Harriet Wilson, and Frances Hodgson Burnett; material culture including Topsy pincushions, Uncle Tom and Little Eva handkerchiefs, and Raggedy Ann dolls; and visual texts ranging from fine portraiture to advertisements for lard substitute. Throughout, Bernstein shows how “innocence” gradually became the exclusive province of white children—until the Civil Rights Movement succeeded not only in legally desegregating public spaces, but in culturally desegregating the concept of childhood itself.Writing in Children’s Literature, Philip Nel notes that Racial Innocence is “one of those rare books that shifts the paradigm—a book that, in years to come, will be recognized as a landmark in children’s literature and childhood studies.” In the journal Cultural Studies, reviewer Aaron C. Thomas says that Bernstein’s “theory of the scriptive thing asks us to see children as active participants in culture, and, in fact, as expert agents of the culture of childhood into which they have been interpellated. In this way, Bernstein is able not only to describe the effects of 19th-century radicalization on 21st century US culture, but also to illuminate the radicalized residues of our own childhoods in our everyday adult lives.” Racial Innocence was awarded the 2012 Outstanding Book Award from the Association for Theatre in Higher Education, and the award committee noted that the book “is a historiographic tour de force that traces a genealogy of the invention of the innocent (white) child and its racialized roots in 19th and 20th century U.S. popular culture.”

    By delving into lives that would otherwise go unremarked, Kelly documents the modernization of the sex industry during the neoliberal era in the city of Tuxtla Gutiérrez and illustrates how state-regulated sex became part of a broader effort by government officials to bring modernity to Chiapas, one of Mexico's poorest and most conflicted states. Kelly's innovative approach locates prostitution in a political-economic context by treating it as work. Most valuably, she conveys her analysis through vivid portraits of the lives of the sex workers themselves and shows how the women involved are neither victims nor heroines.

    Essential reading for both art enthusiasts and anyone concerned with the environment, the book is the most comprehensive and beautifully illustrated book on the subject.The traditional landscape genre was radically transformed in the 1960s when many artists stopped merely representing the land and made their mark directly in the environment. Drawn by the vast uncultivated spaces of the desert and mountain as well as post-industrial wastelands, artists such as Michael Heizer, Nancy Holt and Robert Smithson moved the earth to create colossal primal symbols. Others punctuated the horizon with man-made signposts, such as Christo's Running Fence or Walter de Maria's Lightning Field. Journeys became works of art for Richard Long while Dennis Oppenheim and Ana Mendieta immersed their bodies in the contours of the land.This book traces early developments to the present day, as artists are exploring eco-systems and the interface between industrial, urban and rural cultures. Survey Brian Wallis discusses the key artists, works and issues that define Land Art historically, as well as its later ramifications.Works This book fully documents the 1960s Land Art movement and surveys examples of Environmental Art to the present day. Earthworks, environments, performances and actions by artists ranging from Ana Mendieta in the 1970s and 80s to Peter Fend in the 1990s are illustrated with breathtaking photographs, sketches and project notes. Documents Jeffrey Kastner has compiled an invaluable archive of statements by all the featured artists alongside related texts by art historians, critics, philosophers and cultural theorists including Jean Baudrillard, Edmund Burke, Guy Debord, Michael Fried, Dave Hickey, Rosalind Krauss, Lucy R Lippard, Thomas McEvilley and Simon Schama.