He challenges any single discourse on the erotic. The scope of his inquiry ranges from Emily Bronte to Sade, from St. Therese to Claude Levi-Strauss, and Dr. Kinsey; and the subjects he covers include prostitution, mythical ecstasy, cruelty, and organized war. Investigating desire prior to and extending beyond the realm of sexuality, he argues that eroticism is "a psychological quest not alien to death."

    Richard Rorty, a Princeton professor who had contributed to the analytic tradition in philosophy, was now attempting to shrug off all the central problems with which it had long been preoccupied. After publication, the Press was barely able to keep up with demand, and the book has since gone on to become one of its all-time best-sellers in philosophy. Rorty argued that, beginning in the seventeenth century, philosophers developed an unhealthy obsession with the notion of representation. They compared the mind to a mirror that reflects reality. In their view, knowledge is concerned with the accuracy of these reflections, and the strategy employed to obtain this knowledge--that of inspecting, repairing, and polishing the mirror--belongs to philosophy. Rorty's book was a powerful critique of this imagery and the tradition of thought that it spawned. He argued that the questions about truth posed by Descartes, Kant, Hegel, and modern epistemologists and philosophers of language simply couldn't be answered and were, in any case, irrelevant to serious social and cultural inquiry. This stance provoked a barrage of criticism, but whatever the strengths of Rorty's specific claims, the book had a therapeutic effect on philosophy. It reenergized pragmatism as an intellectual force, steered philosophy back to its roots in the humanities, and helped to make alternatives to analytic philosophy a serious choice for young graduate students. Twenty-five years later, the book remains a must-read for anyone seriously concerned about the nature of philosophical inquiry and what philosophers can and cannot do to help us understand and improve the world.

    This entrenched view continues to dominate western ideas and, because it does not allow the East to represent itself, prevents true understanding. Essential, and still eye-opening, Orientalism remains one of the most important books written about our divided world.

    They chart the course of "true" socialism based on G. W.F. Hegel's dialectic, while criticizing the ideas of Bruno Bauer, Max Stirner and Ludwig Feuerbach. Marx expanded his criticism of the latter in his now famous Theses on Feuerbach, found after Marx's death and published by Engels in 1888. Introduction to the Critique of Political Economy, also found among the posthumous papers of Marx, is a fragment of an introduction to his main works. Combining these three works, this volume is essential for an understanding of Marxism.

    . . Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on paraphilosophical modes of discourse. The sections on Céline, for example, are indispensable reading for those interested in this writer and place him within a context that is both illuminating and of general interest." -Paul de Man

    The author has now revised the original edition to clear up a number of difficulties he and others have found in the original book.Rawls aims to express an essential part of the common core of the democratic tradition - justice as fairness - and to provide an alternative to utilitarianism, which had dominated the Anglo-Saxon tradition of political thought since the nineteenth century. Rawls substitutes the ideal of the social contract as a more satisfactory account of the basic rights and liberties of citizens as free and equal persons. "Each person," writes Rawls, "possesses an inviolability founded on justice that even the welfare of society as a whole cannot override." Advancing the ideas of Rousseau, Kant, Emerson, and Lincoln, Rawls's theory is as powerful today as it was when first published.

    Barrett speaks eloquently and directly to concerns of the 1990s: a period when the irrational and the absurd are no better integrated than before and when humankind is in even greater danger of destroying its existence without ever understanding the meaning of its existence.Irrational Man begins by discussing the roots of existentialism in the art and thinking of Augustine, Aquinas, Pascal, Baudelaire, Blake, Dostoevski, Tolstoy, Hemingway, Picasso, Joyce, and Beckett. The heart of the book explains the views of the foremost existentialists--Kierkegaard, Nietzsche, Heidegger, and Sartre. The result is a marvelously lucid definition of existentialism and a brilliant interpretation of its impact.

    But if we were to let go of this fond conviction, Bruno Latour asks, what would the world look like? His book, an anthropology of science, shows us how much of modernity is actually a matter of faith.What does it mean to be modern? What difference does the scientific method make? The difference, Latour explains, is in our careful distinctions between nature and society, between human and thing, distinctions that our benighted ancestors, in their world of alchemy, astrology, and phrenology, never made. But alongside this purifying practice that defines modernity, there exists another seemingly contrary one: the construction of systems that mix politics, science, technology, and nature. The ozone debate is such a hybrid, in Latour’s analysis, as are global warming, deforestation, even the idea of black holes. As these hybrids proliferate, the prospect of keeping nature and culture in their separate mental chambers becomes overwhelming—and rather than try, Latour suggests, we should rethink our distinctions, rethink the definition and constitution of modernity itself. His book offers a new explanation of science that finally recognizes the connections between nature and culture—and so, between our culture and others, past and present.Nothing short of a reworking of our mental landscape, We Have Never Been Modern blurs the boundaries among science, the humanities, and the social sciences to enhance understanding on all sides. A summation of the work of one of the most influential and provocative interpreters of science, it aims at saving what is good and valuable in modernity and replacing the rest with a broader, fairer, and finer sense of possibility.

    Using a layout style that was later copied by Wired, McLuhan and coauthor/designer Quentin Fiore combine word and image to illustrate and enact the ideas that were first put forward in the dense and poorly organized Understanding Media. McLuhan's ideas about the nature of media, the increasing speed of communication, and the technological basis for our understanding of who we are come to life in this slender volume. Although originally printed in 1967, the art and style in The Medium is the Massage seem as fresh today as in the summer of love, and the ideas are even more resonant now that computer interfaces are becoming gateways to the global village.

    However, Burke's analysis of the relationship between emotion, beauty, and art form is now recognized as not only an important and influential work of aesthetic theory, but also one of the first major works in European literature on the Sublime, a subject that has fascinated thinkers from Kant and Coleridge to the philosophers and critics of today.

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

    It redirected philosophical attention to neglected questions of natural and metaphysical necessity and to the connections between these and theories of reference, in particular of naming, and of identity. From a critique of the dominant tendency to assimilate names to descriptions and more generally to treat their reference as a function of their Fregean sense, surprisingly deep and widespread consequences may be drawn. The largely discredited distinction between accidental and essential properties, both of individual things (including people) and of kinds of things, is revived. So is a consequent view of science as what seeks out the essences of natural kinds. Traditional objections to such views are dealt with by sharpening distinctions between epistemic and metaphysical necessity; in particular by the startling admission of necessary a posteriori truths. From these, in particular from identity statements using rigid designators whether of things or of kinds, further remarkable consequences are drawn for the natures of things, of people, and of kinds; strong objections follow, for example to identity versions of materialism as a theory of the mind.This seminal work, to which today's thriving essentialist metaphysics largely owes its impetus, is here published with a substantial new Preface by the author.

    Ricoeur here examines the creation of meaning at the textual level, with narrative rather than metaphor as the ruling concern.Ricoeur finds a "healthy circle" between time and narrative: time is humanized to the extent that it portrays temporal experience. Ricoeur proposes a theoretical model of this circle using Augustine's theory of time and Aristotle's theory of plot and, further, develops an original thesis of the mimetic function of narrative. He concludes with a comprehensive survey and critique of modern discussions of historical knowledge, understanding, and writing from Aron and Mandelbaum in the late 1930s to the work of the Annales school and that of Anglophone philosophers of history of the 1960s and 1970s."This work, in my view, puts the whole problem of narrative, not to mention philosophy of history, on a new and higher plane of discussion."—Hayden White, History and Theory "Superb. . . . A fine point of entrance into the work of one of the eminent thinkers of the present intellectual age."—Joseph R. Gusfield, Contemporary Sociology

    Leibniz' Monadology, one of the most important pieces of the Leibniz corpus, is at once one of the great classics of modern philosophy & one of its most puzzling productions. Because the essay is written in so compactly condensed a fashion, for almost three centuries it has baffled & beguiled those who read it for the first time. Nicholas Rescher accompanies the text of the Monadology section-by-section with relevant excerpts from some of Leibniz' widely scattered discussions of the matters at issue. The result serves a dual purpose of providing a commentary of the Monadology by Leibniz himself, while at the same time supplying an exposition of his philosophy using the Monadology as an outline. The book contains all the materials that even the most careful study of this text could require: a detailed overview of the philosophical background of the work & of its bibliographic ramifications; a presentation of the original French text together with a new, closely faithful English translation; a selection of other relevant Leibniz texts; & a detailed commentary. Rescher also provides a survey of Leibniz' use of analogies & three separate indices of key terms & expressions, Leibniz' French terminology, & citations. Rescher's edition of the Monadology presents Leibniz' ideas faithfully, accurately & accessibly, making it especially valuable to scholars & students alike.