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

    

    Should it?Reflecting on two millennia of debates about the value of anger, Agnes Callard contends that efforts to distinguish righteous forms of anger from unjust vengeance, or appropriate responses to wrongdoing from inappropriate ones, are misguided. What if, she asks, anger is not a bug of human life, but a feature—an emotion that, for all its troubling qualities, is an essential part of being a moral agent in an imperfect world? And if anger is both troubling and essential, what then do we do with the implications: that angry victims of injustice are themselves morally compromised, and that it might not be possible to respond rightly to being treated wrongly? As Callard concludes, “We can’t be good in a bad world.”The contributions that follow explore anger in its many forms—public and private, personal and political—raising an issue that we must grapple with: Does the vast well of public anger compromise us all?

    Addressing ethical questions about ownership, protection against unjustified suffering, and theability of animals to make their own choices free from human control, the authors offer numerous different perspectives on animal rights and animal welfare. They show that whatever one's ultimate conclusions, the relationship between human beings and nonhuman animals is being fundamentallyrethought. This book offers a state-of-the-art treatment of that rethinking.

    In MILLENNIUM, Hakim Bey both sustains and expands the ideas of his groundbreaking work, THE TEMPORARY AUTONOMOUS ZONE. Here, Bey suggests that mere detachment from (or even outright rejection of) the monolith of global capital is not enough; that either we accept ourselves as the 'last humans,' or else we accept ourselves as the opposition. The book also contains an illuminating interview with Bey, in which he discusses his body of work and assesses our collective position at the turn of the millennium.

    Originally written in 1897 by the 28th president of the United States, this essay underlines the necessity for everyone in the modern world to embrace humane behavior.

    These influential essays, interviews, and critical and theoretical comments provide bold and fertile insights into the construction of visual knowledge. Featuring a wide range of leading and emerging artists since 1945, the collection—while comprehensive and authoritative—offers the reader some eclectic surprises as well.Included here are texts that have become pivotal documents in contemporary art, along with writings that cover unfamiliar ground. Some are newly translated, others have never before been published. Together they address visual literacy, cultural studies, and the theoretical debates regarding modernism and postmodernism. The full panoply of visual media is represented, from painting and sculpture to environments, installations, performance, conceptual art, video, photography, and virtual reality. Thematic concerns range from figuration and process to popular culture, art and technology, and politics and the media. Contemporary issues of gender, race, class, and sexuality are also addressed.Kristine Stiles's general introduction is a succinct overview of artists' theories in the evolution of contemporary discourse around art. Introductions to each chapter provide synopses of the cultural contexts in which the texts originated and brief biographies of individual artists. The text is augmented by outstanding photographs, many of artists in their studios, and vivid, contemporary art images.Reflecting the editors' shared belief that artists' own theories provide unparalleled access to visual knowledge, this book, like its distinguished predecessors, Hershel Chipp's Theories of Modern Art (with Peter Selz and Joshua Taylor) and Joshua Taylor's Nineteenth-Century Theories of Art, will be an invaluable resource for anyone interested in contemporary art."In New York in 1915 I bought at a hardware store a snow shovel on which I wrote 'in advance of the broken arm.' It was around that time that the word 'readymade' came to mind to designate this form of manifestation."—Marcel Duchamp (1961)"Women have always collected things and saved and recycled them because leftovers yielded nourishment in new forms. The decorative functional objects women made often spoke in a secret language, bore a covert imagery. When we read these images in needlework, in paintings, in quilts, rugs and scrapbooks, we sometimes find a cry for help, sometimes an allusion to a secret political alignment, sometimes a moving symbol about the relationships between men and women."—Miriam Schapiro and Melissa Meyer (1978)"I want to create a fusion of art and life, Asia and America, Duchampiana modernism and Levi-Straussian savagism, cool form and hot video, dealing with all of those complex problems, spanning the tribal memory of the Nomadic Asians who crossed over the Bering Strait over 10,000 years ago."—Shigeko Kubota (1976)"Black for me is a lot more peaceful and gentle than white. White marble may be very beautiful, but you can't read anything on it. I wanted something that would be soft on the eyes, and turn into a mirror if you polished it. The point is to see yourself reflected in the names. Also the mirror image doubles and triples the space."—Maya Lin (1983)"Artists often depend on the manipulation of symbols to present ideas and associations not always apparent in such symbols. If all such ideas and associations were evident there would be little need for artists to give expression to them. In short, there would be no need to make art."—Andres Serrano (1989)

    In the early part of the work, Gretchen and her friends consider whether evil provides a problem for those who believe in the perfection of God. As the discussion continues they consider the nature of human evil—whether, for example, fully rational actions can be intentionally evil. Recurring themes are the distinction between natural evil and evil done by free agents, and the problems the Holocaust and other cases of genocide pose for conceptions of the universe as a basically good place, or humans as basically good beings. Once again, Perry’s ability to get at the heart of matters combines with his exemplary skill at writing the dialogue form. An ideal volume for introducing students to the subtleties and intricacies of philosophical discussion.

    But as the free market reaches its extreme limits in the economic and environmental fallout, a reassessment of capitalism's most vigorous and eloquent enemy has never been more timely. Eric Hobsbawm provides a fascinating and insightful overview of Marxism. He investigates its influences and analyses the spectacular reversal of Marxism's fortunes over the past thirty years.

    As he wanders the land year upon year, Raymo gathers the revelations embedded in the geological and cultural history of this wild and ancient place. "When I called out for the Absolute, I was answered by the wind," Raymo writes. "If it was God's voice in the wind, then I heard it." In poetic prose grounded in a mind trained to discover fact, Honey from Stone enters the wonder of the material world in search of our deepest nature.

    At once ironic, humorous, and polemical, this work takes on the "unscientific" form of a mimical-pathetical-dialectical compilation of ideas. Whereas the movement in the earlier pseudonymous writings is away from the aesthetic, the movement in Postscript is away from speculative thought. Kierkegaard intended Postscript to be his concluding work as an author. The subsequent "second authorship" after The Corsair Affair made Postscript the turning point in the entire authorship. Part One of the text volume examines the truth of Christianity as an objective issue, Part Two the subjective issue of what is involved for the individual in becoming a Christian, and the volume ends with an addendum in which Kierkegaard acknowledges and explains his relation to the pseudonymous authors and their writings. The second volume contains the scholarly apparatus, including a key to references and selected entries from Kierkegaard's journals and papers.

    

    His humor and short fiction appear in various publications throughout the Southeast.

    This classic text in American Philosophy by one of the foremost figures in American philosophy offers a concise analysis of the various factors in human nature which go toward forming a religion, to exhibit the inevitable transformation of religion with the transformation of knowledge and to direct attention to the foundation of religion on our apprehension of those permanent elements by reason of which there is a stable order in the world, permanent elements apart from which there could be no changing world.

    In Why We Need Love, Simon Van Booy curates an enlightening collection of excerpts, passages, and paintings, presenting works by Geoffrey Chaucer, William Shakespeare, John Donne, William Blake, George Eliot, Emily Dickinson, O. Henry, W. B. Yeats, James Joyce, E. E. Cummings, Anaïs Nin, Marc Chagall, J. Krishnamurti, and others.Provocative and eye-opening, Why We Need Love is one of three slim selections of philosophical texts and excerpts—along with Why We Fight and Why Our Decisions Don’t Matter—introduced and contextualized by acclaimed author Simon Van Booy (Love Begins in Winter, The Secret Lives of People in Love).