A book for all times to come. His understanding & explanation of where the real power lies is outstanding. What s breathtaking is how relevent his arguments are today & how strikingly similar the working of all governments turn out to be (as generalized by Hart). He deals with issues such as 'patterns & psychology of dictatorship', 'power politics in a democracy' & lastly the the 'desire for power' & 'War'."--Ali S. Burki.Summary:Preface Foreword Part 1: History & truth Part 2: Government & freedom Part 3: War & peace Conclusions

    Dust: The Archive and Cultural History considers our stubborn set of beliefs about an objective material world inherited from the nineteenth century with which modern history writing and its lack of such a belief, attempts to grapple. Drawing on her own published and unpublished writing, Carolyn Steedman has produced a sustained argument about the way in which history writing belongs to the currents of thought shaping the modern world.Steedman begins by asserting that in recent years much attention has been paid to the archive by those working in the humanities and social sciences; she calls this practice "archivization." By definition, the archive is the repository of "that which will not go away," and the book goes on to suggest that, just like dust, the "matter of history" can never go away or be erased.This unique work will be welcomed by all historians who want to think about what it is they do.

    Included are dramatic confrontations from Virginia, where Patrick Henry pitted his legendary oratorical skills against the persuasive logic of Madison, and from New York, where Alexander Hamilton faced the brilliant Antifederalist Melancton Smith.In addition to useful notes, there are biographical profiles of all writers, speakers, and recipients, and a detailed chronology of relevant events from 1774 to 1804 provide fascinating background. A general index allows readers to follow specific topics, and an appendix includes the Declaration of Independence, the Articles of Confederation, and the Constitution (with all amendments).

    Boorstin explores the development of artistic innovation over 3,000 years. A hugely ambitious chronicle of the arts that Boorstin delivers with the scope that made his Discoverers a national bestseller.

    the 'Radical' Reformers]. They sought to enlist the cooperation of rulers in the work of reforming the Church. However, neither regarded the relationship between Church and rulers as a comfortable or unproblematic one. They were torn between the overriding imperative of uncompromising obedience to the will of God as revealed in Scripture, and their sense of the urgent need to maintain order and authority in Church and polity.The two texts translated here, Luther's On Secular Authority and Calvin's 'On Civil Government', constitute their most sustained attempts to find the proper balance between these two commitments, demanding a consideration of the nature of justice, the justification and scope of civil authority, the liberty of Christian subjects, and the place of the Church in the world.Despite their mutual respect, there were wide divergences between them. Luther's On Secular Authority was later cited en bloc in favor of religious toleration, whereas Calvin envisaged secular authority as an agency for the compulsory establishment of the external conditions of Christian (as well as civil) virtue and the suppression of dissent.The introduction, glossary, chronology, and notes on further reading contained in this volume help located the texts in the broader context of the authors.

    One of the most important books on the social sciences since the Second World War, it is a searing insight into the ideas of this great thinker.

    7: Human Knowledge and Divine Knowledge. In this immensely erudite book, German classicist Bruno Snell traces the establishment of a rational view of the nature of man as evidenced in the literature of the Greeks - in the creations of epic and lyric poetry, and in the drama. Here are the crucial stages in the intellectual evolution of the Greek world: the Homeric world view, the rise of the individual in the early Greek lyric, myth and reality in Greek tragedy, Greek ethics, the origin of scientific thought, and Arcadia.

    Selections from some of Bacon's natural histories round out this edition by showing the types of compilations that he believed would most contribute to the third part of his Great Instauration.Each work has a separate brief introduction indicating the major themes developed. In her general Introduction, Sargent gives a biographical sketch of Bacon's early life, education, and legal career, discusses the major components of his philosophical project, and traces his influence on subsequent natural philosophy. In addition, she looks at the primarily negative evaluations of Bacon's methodological writings by philosophers of science in the first half of the twentieth century, the reassessments of his works that took place as the influence of logical empiricism declined, and the current revival of interest in Bacon that coincides with the focus on experimental practice today.A bibliography and index complete the text.

    * The text has been completely revised to take into account developments of the past 14 years, since History and Social Theory was first published. * Topics which have been added and that are now treated in depth include globalization, postcolonialism and social capital.

    His writings - mosaics incorporating philosophy, literary criticism, Marxist analysis, and a syncretistic theology - defy simple categorization. And his mobile, often improvised existence has proven irresistible to mythologizers. His writing career moved from the brilliant esotericism of his early writings through his emergence as a central voice in Weimar culture and on to the exile years, with its pioneering studies of modern media and the rise of urban commodity capitalism in Paris. That career was played out amid some of the most catastrophic decades of modern European history: the horror of the First World War, the turbulence of the Weimar Republic, and the lengthening shadow of fascism. Now, a major new biography from two of the world's foremost Benjamin scholars reaches beyond the mosaic and the mythical to present this intriguing figure in full.Howard Eiland and Michael Jennings make available for the first time a rich store of information which augments and corrects the record of an extraordinary life. They offer a comprehensive portrait of Benjamin and his times as well as extensive commentaries on his major works, including "The Work of Art in the Age of Its Technological Reproducibility," the essays on Baudelaire, and the great study of the German Trauerspiel. Sure to become the standard reference biography of this seminal thinker, Walter Benjamin: A Critical Life will prove a source of inexhaustible interest for Benjamin scholars and novices alike.

    But finding an answer to the question 'What is history?' is a task few feel equipped to answer. If you want to explore this tantalising subject, where do you start? What are the critical skills you need to begin to make sense of the past?The perfect introduction to this thought-provoking area, Jenkins' clear and concise prose guides readers through the controversies and debates that surround historical thinking at the present time, providing them with the means to make their own discoveries.

    But as Corey Robin shows in his unsettling tour of the Western imagination--the first intellectual history of its kind--fear has shaped our politics and culture since time immemorial. From the Garden of Eden to the Gulag Archipelago to today's headlines, Robin traces our growing fascination with political danger and disaster. As our faith in positive political principles recedes, he argues, we turn to fear as the justifying language of public life. We may not know the good, but we do know the bad. So we cling to fear, abandoning the quest for justice, equality, and freedom. But as fear becomes our intimate, we understand it less. In a startling reexamination of fear's greatest modern interpreters--Hobbes, Montesquieu, Tocqueville, and Arendt--Robin finds that writers since the eighteenth century have systematically obscured fear's political dimensions, diverting attention from the public and private authorities who sponsor and benefit from it. For fear, Robin insists, is an exemplary instrument of repression--in the public and private sector. Nowhere is this politically repressive fear--and its evasion--more evident than in contemporary America. In his final chapters, Robin accuses our leading scholars and critics of ignoring Fear, American Style, which, as he shows, is the fruit of our most prized inheritances--the Constitution and the free market. With danger playing an increasing role in our daily lives and justifying a growing number of government policies, Robin's Fear offers a bracing, and necessary, antidote to our contemporary culture of fear.

    The first two - the French Revolution and the Industrial Revolution - have inspired the greatest volume of literature. But the third - the romantic revolution - was perhaps the most fundamental and far-reaching.From Byron, Wordsworth, Coleridge and Burns, to Beethoven, Wagner, Berlioz, Rossini and Liszt, to Goya, Turner, Delacroix and Blake, the romantics brought about nothing less than a revolution when they tore up the artistic rule book of the old regime. This was the period in which art acquired its modern meaning; for the first time the creator, rather than the created, took centre-stage. Artists became the high priests of a new religion, and as the concert hall and gallery came to take the place of the church, the public found a new subject worthy of veneration in paintings, poetry and music. Tim Blanning's wide-ranging survey traces the roots and evolution of a cultural revolution whose reverberations continue to be felt today.

    The historical events take on a brilliant new dimension in this revised edition now with photographs, charts, and maps.

    Yet this ancient sacrament has also been a source of controversy and oppression, culminating, as prize-winning historian John Cornwell reveals in The Dark Box, with the scandal of clerical child abuse. Drawing on extensive historical sources, contemporary reports, and first-hand accounts, Cornwell takes a hard look at the long evolution of confession. The papacy made annual, one-on-one confession obligatory for the first time in the 13th century. In the era that followed, confession was a source of spiritual consolation as well as sexual and mercenary scandal. During the 16th century, the Church introduced the confession box to prevent sexual solicitation of women, but this private space gave rise to new forms of temptation, both for penitents and confessors. Yet no phase in the story of the sacrament has had such drastic consequences as a historic decree by Pope Pius X in 1910. In reaction to the spiritual perils of the new century, Pius sought to safeguard the Catholic faithful by lowering the age at which children made their first confession from their early teens to seven, while exhorting all Catholics to confess frequently instead of annually. This sweeping, inappropriately early imposition of the sacrament gave priests an unprecedented and privileged role in the lives of young boys and girls—a role that a significant number would exploit in the decades that followed.A much-needed account of confession’s fraught history, The Dark Box explores the sources of the sacrament’s harm and shame, while recognizing its continuing power to offer consolation and reconciliation.