Rousseau was a major Swiss philosopher, writer, and composer of the eighteenth-century Enlightenment, whose political philosophy influenced the French Revolution and the development of modern political and educational thought.This ebook is DRM free and includes an active table of contents.

    a personal confession of its creator and a kind of involuntary and unperceived memoir.". Stewart affirms this maxim in his colorful reinterpretation of the lives and works of 17th-century philosophers Spinoza and Leibniz. In November 1676, the foppish courtier Leibniz, "the ultimate insider... an orthodox Lutheran from conservative Germany," journeyed to The Hague to visit the self-sufficient, freethinking Spinoza, "a double exile... an apostate Jew from licentious Holland." A prodigious polymath, Leibniz understood Spinoza's insight that "science was in the process of rendering the God of revelation obsolete; that it had already undermined the special place of the human individual in nature." Spinoza embraced this new world. Seeing the orthodox God as a "prop for theocratic tyranny," he articulated the basic theory for the modern secular state. Leibniz, on the other hand, spent the rest of his life championing God and theocracy like a defense lawyer defending a client he knows is guilty. He elaborated a metaphysics that was, at bottom, a reaction to Spinoza and collapses into Spinozism, as Stewart deftly shows. For Stewart, Leibniz's reaction to Spinoza and modernity set the tone for "the dominant form of modern philosophy"—a category that includes Kant, Hegel, Bergson, Heidegger and "the whole 'postmodern' project of deconstructing the phallogocentric tradition of western thought." Readers of philosophy may find much to disagree with in these arguments, but Stewart's wit and profluent prose make this book a fascinating read.

    It is a riveting story and an original contribution to the history of the postwar America.

    In Wicked Messenger, acclaimed cultural-political commentator Mike Marqusee advances the new thesis that Dylan did not drop politics from his songs but changed the manner of his critique to address the changing political and cultural climate and, more importantly, his own evolving aesthetic. Wicked Messenger is also a riveting political history of the United States in the 1960s. Tracing the development of the decade’s political and cultural dissent movements, Marqusee shows how their twists and turns were anticipated in the poetic aesthetic—anarchic, unaccountable, contradictory, punk— of Dylan's mid-sixties albums, as well as in his recent artistic ventures in Chronicles, Vol. I and Masked and Anonymous.Dylan’s anguished, self-obsessed, prickly artistic evolution, Marqusee asserts, was a deeply creative response to a deeply disturbing situation. "He can no longer tell the story straight," Marqusee concludes, "because any story told straight is a false one."

    

    Words spoke to you, gave up their secrets; at that moment, whole universes opened. You became, irrevocably, a reader. Noted essayist Alberto Manguel moves from this essential moment to explore the 6000-year-old conversation between words and that magician without whom the book would be a lifeless object: the reader. Manguel lingers over reading as seduction, as rebellion, as obsession, and goes on to trace the never-before-told story of the reader's progress from clay tablet to scroll, codex to CD-ROM.

    Summary; The true-life American epic of five men who meet as fraternity brothers in the early 1960s and live out the dreams, failures, loves, and betrayals of their tumultuous generation. Subjects; Colton, Larry. United States -- Biography. Journalists -- United States -- Biography. Genre; Biography.

    They could not have been more different, and they would meet only for a short time in 1502, but the events that transpired when they did would significantly alter each man’s perceptions and the course of Western history.In 1502, Italy was riven by conflict, with the city of Florence as the ultimate prize. Machiavelli, the consummate political manipulator, attempted to placate the savage Borgia by volunteering Leonardo to be Borgia’s chief military engineer. That autumn, the three men embarked together on a brief, perilous, and fateful journey through the mountains, remote villages, and hill towns of the Italian Romagna the details of which were revealed in Machiavelli’s frequent dispatches and Leonardo’s meticulous notebooks. Superbly written and thoroughly researched, The Artist, the Philosopher, and the Warrioris a work of narrative genius whose subject is the nature of genius itself.

    Leonardo was a charming, handsome fifty year-old at the peak of his career. Michelangelo was a temperamental sculptor in his mid-twenties, desperate to make a name for himself.Michelangelo is a virtual unknown when he returns to Florence and wins the commission to carve what will become one of the most famous sculptures of all time: David. Even though his impoverished family shuns him for being an artist, he is desperate to support them. Living at the foot of his misshapen block of marble, Michelangelo struggles until the stone finally begins to speak. Working against an impossible deadline, he begins his feverish carving.Meanwhile, Leonardo’s life is falling apart: he loses the hoped-for David commission; he can’t seem to finish any project; he is obsessed with his ungainly flying machine; he almost dies in war; his engineering designs disastrously fail; and he is haunted by a woman he has seen in the market—a merchant’s wife, whom he is finally commissioned to paint. Her name is Lisa, and she becomes his muse.Leonardo despises Michelangelo for his youth and lack of sophistication. Michelangelo both loathes and worships Leonardo’s genius.Oil and Marble is the story of their nearly forgotten rivalry. Storey brings early 16th-century Florence alive, and has entered with extraordinary empathy into the minds and souls of two Renaissance masters. The book is an art history thriller.

    Two centuries on, he is still revered as a prophet of the modern world, yet he is also blamed for the darkest atrocities of modern times. But no matter in what light he is cast, the short, but broad-shouldered, bearded Marx remains—as a human being—distorted on a Procrustean bed of political “isms,” perceived through the partially distorting lens of his chief disciple, Friedrich Engels, or understood as a figure of twentieth-century totalitarian Marxist regimes.Returning Marx to the Victorian confines of the nineteenth century, Jonathan Sperber, one of the United States’ leading European historians, challenges many of our misconceptions of this political firebrand turned London émigré journalist. In this deeply humanizing portrait, Marx no longer is the Olympian soothsayer, divining the dialectical imperatives of human history, but a scholar-activist whose revolutionary Weltanschauung was closer to Robespierre’s than to those of twentieth-century Marxists.With unlimited access to the MEGA (the Marx-Engels Gesamtausgabe, the total edition of Marx’s and Engels’s writings), only recently available, Sperber juxtaposes the private man, the public agitator, and the philosopher-economist. We first see Marx as a young boy in the city of Trier, influenced by his father, Heinrich, for whom “the French Revolution and its aftermath offered an opportunity to escape the narrowly circumscribed social and political position of Jews in the society.” For Heinrich’s generation, this worldview meant no longer being a member of the so-called Jewish nation, but for his son, the reverberations were infinitely greater—namely a life inspired by the doctrines of the Enlightenment and an implacable belief in human equality.Contextualizing Marx’s personal story—his rambunctious university years, his loving marriage to the devoted Jenny von Westphalen (despite an illegitimate child with the family maid), his children’s tragic deaths, the catastrophic financial problems—within a larger historical stage, Sperber examines Marx’s public actions and theoretical publications against the backdrop of a European continent roiling with political and social unrest. Guided by newly translated notes, drafts, and correspondence, he highlights Marx’s often overlooked work as a journalist; his political activities in Berlin, Paris, and London; and his crucial role in both creating and destroying the International Working Men’s Association. With Napoleon III, Bismarck, Adam Smith, and Charles Darwin, among others, as supporting players, Karl Marx becomes not just a biography of a man but a vibrant portrait of an infinitely complex time.Already hailed by Publishers Weekly as “a major work . . . likely to be the standard biography of Marx for many years,” Karl Marx promises to become the defining portrait of a towering historical figure.

    Joesten carefully documents the little-known facts behind Johnson's involvement in scandals stretching back to his first stolen election in 1948, thru the Bobby Baker, Billy Sol Estes and Walter Jenkins affairs, and culminates with the assassination of John F. Kennedy. Included are LBJ's connection to mobsters, big Texas oil, political graft and corruption, blackmailing of FBI chief J. Edgar Hoover, and a disturbing number of murders committed by his henchmen for LBJ's personal gain.FROM THE BOOK:The true nature of Lyndon B. Johnson has long been hidden from the public through the frenzied efforts of highly paid P.R. wizards and artificial image-builders. William Manchester came closer than most other people to seeing through the benign public relations mask of Lyndon Johnson, but one wouldn't know it from scanning the pages of 'The Death of a President'.If there are two persons in the world who have really come to know Johnson at close quarters, outside of his own family, they are Robert and Jacqueline Kennedy. Manchester interviewed both of them at length and they told him, without mincing their words, what they thought of That Man in the White House. But when Manchester, having faithfully recorded everything the Kennedys had told him, rushed into print with his story, years ahead of schedule, they both got panicky and practically forced him to 'revise' his story out of recognition.Edward J. Epstein, the author of Inquest, somehow managed to get hold of a copy of the original, unedited manuscript of the Manchester book, then entitled 'Death of a Lancer', and revealed in the July issue 1967 of Commentary, some of its contents.In his original draft, Manchester, it seems, made some very pungent remarks about Lyndon Johnson whom he described, among other things, as a 'chameleon who constantly changes loyalties'; 'a capon' and 'a crafty schemer who has a gaunt, hunted look about him'.He also pictured Johnson as 'a full-fledged hypomaniac' and 'the crafty seducer with six nimble hands who can persuade a woman to surrender her favors in the course of a long conversation confined to obscure words. No woman, even a lady, can discern his intentions until the critical moment'.By far the most interesting aspect of this matter, however, is Epstein's contention that Manchester's original theme, which gave unity to his book, was 'the notion that Johnson, the successor, was somehow responsible for the death-of his predecessor'.Several quotations from the original draft bear out this contention. At one point, the Lancer version states, 'The shattering fact of the assassination is that a Texas murder has made a Texan President'.At another, Kenneth O'Donnell, Kennedy's appointments secretary, is quoted as exclaiming 'They did it. I always knew they'd do it. You couldn't expect anything else from them. They finally made it'.Then Manchester comments: 'He didn't specify who "they" were. It was unnecessary. They were Texans, Johnsonians'.But what is one to think of an author who allows his most important work not only to be castrated, but to be turned completely upside down by a publisher more committed to the dictates of expediency than to the search for historical truth?

    His father had requested the courts to look into evidences that would prove his son’s innocence, but the letter only goes on to show why Bhagat Singh is a true revolutionary who paved a new path for Indian Independence.

    Set in the studio, on the stage, and in great cities and small towns across the country, this book captures life on the road for Marsalis and his musicians, evoking its ritual and renewal, energy and spirituality. Describing the art of improvisation, the book's two voices mirror the interplay at the heart of jazz. "On the road and on the bandstand," Marsalis writes, "something great may happen at any moment, something that might even change your life." Alternately luminous and boisterous, often poignant, and always passionate, Marsalis and Vigeland's extraordinary dialogue is a must for fans, musicians, and anyone curious about America's only indigenous art form.

    Yet, whereas Marxism is generally recognized as representing an intellectual and ideological tradition extending back for at least a century, National Socialism is not. Rather, to many, the ideological bases of National Socialism were the product of a small group of unbalanced minds. To others, the Nazi ideology was merely a propaganda tactic designed to win the support of the masses. Still others have found the ideas underlying National Socialism so nebulous and incomprehensible that they have dismissed them as unimportant.In fact, though, these ideas are deeply embedded in German history. They were current - indeed, eminently respectable - among several generations of Germans prior to Hitler's rise. Strange, even demonic ideas they were, certainly - racial thought, Germanic Christianity, nature mysticism, sun worship, theosophy - but for many Germans long before the Hitler period they suggested the possibility of political and historical salvation.In this book, George L. Mosse traces these currents of thought through 19th and 20th century German history, discussing the role they played and the longings they gratified during nearly a century of German life. He reveals how the anti-liberal and anti-democratic ideology comprising these peculiarly German ideas became institutionalized in the schools, youth movements, veterans' groups, political parties; how the "German revolution" called for by the ideology's exponents was transformed by Hitler into an "anti-Jewish revolution"; and how the Nazis fully assimilated these ideas into an effective political program as they rose to power.

    Goethe (1749–1832), a remarkably prolific poet, playwright, novelist, and, as Safranksi emphasizes, a statesman and naturalist, first awakened not only a burgeoning German nation but also the European continent with his electrifying novel The Sorrows of Young Werther. Safranski has scoured Goethe’s entire oeuvre, relying on primary sources as well as Goethe's correspondence with contemporaries and their comments to one another, to produce an illuminating portrait of the avatar of the Romantic era. Set against the cultural and political turmoil of Europe in the late eighteenth and early nineteenth centuries, Goethe, who intersected with almost every great figure of his age, is thrillingly re-created in this monumental biography. As Safranski ultimately shows, Goethe’s greatest creation, even in comparison to his masterpiece Faust, was his own life.