Even though the glass ceiling is cracked, most women stay comfortably beneath it, and everywhere we hear about vitally important “hardwired” differences between male and female brains. The neuroscience we read about in magazines, newspaper articles, books, and sometimes even scientific journals increasingly tells a tale of two brains, and the result is more often than not a validation of the status quo. Women, it seems, are just too intuitive for math, men too focused for housework.Drawing on the latest research in neuroscience and psychology, Cordelia Fine debunks the myth of hardwired differences between men’s and women’s brains, unraveling the evidence behind such claims as men’s brains aren’t wired for empathy, and women’s brains aren’t made to fix cars. She then goes one step further, offering a very different explanation of the dissimilarities between men’s and women’s behavior. Instead of a “male brain” and a “female brain,” Fine gives us a glimpse of plastic, mutable minds that are continuously influenced by cultural assumptions about gender.Delusions of Gender provides us with a much-needed corrective to the belief that men’s and women’s brains are intrinsically different--a belief that, as Fine shows with insight and humor--all too often works to the detriment of ourselves and our society.

    A Russian Jewish immigrant at the age of 17, she moved by her own efforts from seamstress in a clothing factory to internationally known radical lecturer, writer, editor and friend of the oppressed. This book is a collection of her remarkably penetrating essays, far in advance of their time, originally published by the Mother Earth press which she founded.In the first of these essays, Anarchism: What It Really Stands For, she says, "Direct action, having proven effective along economic lines, is equally potent in the environment of the individual." In Minorities Versus Majorities she holds that social and economic well-being will result only through "the non-compromising determination of intelligent minorities, and not through the mass." Other pieces deal with The Hypocrisy of Puritanism; Prisons: A Social Crim and Failure; The Psychology of Political Violence—note the relevence of these themes to our own time; The Drama: A Powerful Disseminator of Radical Thought; Patriotism: A Menace to Liberty; and The Tragedy of Woman's Emancipation. A biographical sketch by Hippolyte Havel precedes the essays.Anarchism and Other Essays provides a fascinating look into revolutionary issues at the turn of the century, a prophetic view of the social and economic future, much of which we have seen take place, and above all, a glimpse into the mind of an extraordinary woman: brilliant, provocative, dedicated, passionate, and what used to be called "high-minded."Unabridged republication of the 3rd (1917) edition, with a new Introduction by Richard Drinnon. Frontispiece. xv + 271 pp. 5-3/8 x 8-1/2. Paperbound.

    Growth has given way to stagnation; inequality is leading to instability; and confidence in the money economy has all but evaporated.In How Will Capitalism End?, the acclaimed analyst of contemporary politics and economics Wolfgang Streeck argues that the world is about to change. The marriage between democracy and capitalism, ill-suited partners brought together in the shadow of World War Two, is coming to an end. The regulatory institutions that once restrained the financial sector’s excesses have collapsed and, after the final victory of capitalism at the end of the Cold War, there is no political agency capable of rolling back the liberalization of the markets.Ours has become a world defined by declining growth, oligarchic rule, a shrinking public sphere, institutional corruption and international anarchy, and no cure to these ills is at hand.

    What makes this work so important is that it returned the body to the forefront of philosophy for the first time since Plato.

    In today's world, women have more power, legal recognition, and professional success than ever before. Alongside the evident progress of the women's movement, however, writer and journalist Naomi Wolf is troubled by a different kind of social control, which, she argues, may prove just as restrictive as the traditional image of homemaker and wife. It's the beauty myth, an obsession with physical perfection that traps the modern woman in an endless spiral of hope, self-consciousness, and self-hatred as she tries to fulfill society's impossible definition of "the flawless beauty."

    Creativity is heralded as the driving force of our contemporary society, celebrated as agile, progressive and liberating. It is the spring of the knowledge economy and shapes the cities we inhabit. It even defines our politics. What could possibly be wrong with this?In this brilliant, counter-intuitive blast, Oli Mould demands that we rethink the story we are being sold. Behind the novelty, he shows that creativity is a barely hidden form of neoliberal appropriation. It is a regime that prioritises individual success over collective flourishing. It refuses to recognise anything—job, place, person—that is not profitable. And it impacts on everything around us: the places where we work, the way we are managed, how we spend our leisure time.Is there an alternative? Mould offers a radical redefinition of creativity, one embedded in the idea of collective flourishing, outside the tyranny of profit. Bold, passionate and refreshing, Against Creativity, is a timely correction to the doctrine of our times.

    Published in early 1968, it both kindled and colored the May 1968 upheavals in France, which captured the attention of the world. Naming and defining the alienating features of everyday life in consumer society: survival rather than living in full, the call to sacrifice, the cultivation of false needs, the dictatorship of the commodity, subjection to social roles, and the replacement of God by the economy, the book argues that the countervailing impulses that exist within deep alienation - creativity, spontaneity, poetry present an authentic alternative to nilhilistic consumerism. This carefully edited new translation marks the first North American publication of this important work and includes a new preface by the author.

    The essays in this volume are intriguing, challenging, & often baffling to the reader, calling him to abandon all superficial scanning & to enter wholeheartedly into the serious pursuit of thinking. Heidegger is not a 'primitive' or a 'romantic.' He is not one who seeks escape from the burdens & responsibilities of contemporary life into serenity, either through the re-creating of some idyllic past or through the exalting of some simple experience. Finally, Heidegger is not a foe of technology & science. He neither disdains nor rejects them as though they were only destructive of human life. The roots of Heidegger's thinking lie deep in the Western philosophical tradition. Yet that thinking is unique in many of its aspects, in its language, & in its literary expression. In the development of this thought Heidegger has been taught chiefly by the Greeks, by German idealism, by phenomenology, & by the scholastic theological tradition. In him these & other elements have been fused by his genius of sensitivity * intellect into a very individual philosophical expression."--William Lovitt's Introduction

    . . and deaths. After the era of the atomic bomb, Virilio posits an era of genetic and information bombs which replace the apocalyptic bang of nuclear death with the whimper of a subliminally reinforced eugenics. We are entering the age of euthanasia.These exhilarating bulletins from the information war extend the range of Virilio's work. The Information Bomb spans everything from Fukuyama to Larry Flynt, the Sensation exhibition of New British Art to space travel, all seen through the optic of Virilio's trenchant and committed theoretical position.

    The key to A Theater of Envy is Rene Girard's novel reinterpretation ofmimesis. For Girard, people desire objects not for their intrinsic value, but because they are desired by someone else--we mime or imitate their desires. This envy--or mimetic desire--he sees as one of the foundations of the human condition. Bringing such provocative and iconoclastic insights to bear on Shakespeare, Girard reveals the previously overlooked coherence of problem plays like Troilus and Cressida, and makes a convincing argument for elevating A Midsummer Night's Dream from the status of a chaotic comedy to amasterpiece. The book abounds with novel and provocative interpretations: Shakespeare becomes a prophet of modern advertising, and the threat of nuclear disaster is read in the light of Hamlet. Most intriguing of all, perhaps, is a brief, but brilliant aside in which an entirely new perspectiveis brought to the chapter in Joyce's Ulysses in which Stephen Dedalus gives a lecture on Shakespeare. In Girard's view only Joyce, perhaps the greatest of twentieth-century novelists, comes close to understanding the greatest of Renaissance playwrights. Throughout this impressively sustained reading of Shakespeare Girard's prose is sophisticated, but contemporary, and accessible to the general reader. Anyone interested in literature, anthropology, or psychoanalysis will want to read this challenging book. And all those involved in theatricalproduction and performance will find A Theater of Envy full of suggestive new ideas.

    The second part, "A Reading of Freud," is required reading for anyone seriously interested in psychoanalysis. The third section interpretation of Ricoeur's own theory of symbol—particularly religious symbol—which places this study at the center of contemporary debate over the sense of myth.In this book are revealed Ricoeur the philosopher of language; Ricoeur the critic of Freud; and Ricoeur the theologian of religious symbol. The author is outstanding in all three roles, and the book that emerges is of rare profundity, enormous scope, and complete timeliness.Paul Ricoeur is professor of philosophy at the University of Paris. “Paul Ricouer…has done a study that is all too rare these days, in which one intellect comes to grips with another, in which a scholar devotes himself to a thoughtful, searching, and comprehensive study of a genius…The final result is a unique survey of the panorama of Freudian thought by an observer who, although starting from outside, succeeds in penetrating to its core.” –American Journal of Psychiatry“Primarily an inquiry into the foundations of language and hermeneutics…[Ricoeur uses] the Freudian ‘hermeneutics of suspicion’ as a corrective and counter-balance for phenomenology and create a ‘new phenomenology’…This important work…should have an impact upon serious thinking in philosophy, theology, psychology, and other areas which have been affected by Freud studies.”—International Philosophical Quarterly“A stimulating tour de force that allows us to envisage both the psychoanalytic body of knowledge and the psychoanalytic movement in a broad perspective within the framework of its links to culture, history and the evolution of Western intellectual thought.” – Psychoanalytic Quarterly Paul Ricoeur is a professor of philosophy at the University of Chicago and the University of Paris.

    In this book Ollman offers a thorough analysis of Marx's use of dialectical method.   Marx made extremely creative use of dialectical method to analyze the origins, operation, and direction of capitalism. Unfortunately, his promised book on method was never written, so that readers wishing to understand and evaluate Marx's theories, or to revise or use them, have had to proceed without a clear grasp of the dialectic in which the theories are framed. The result has been more disagreement over "what Marx really meant" than over the writings of any other major thinker.   In putting Marx's philosophy of internal relations and his use of the process of abstraction--two little-studied aspects of dialectics--at the center of this account, Ollman provides a version of Marx's method that is at once systematic, scholarly, clear and eminently useful.   Ollman not only sheds important new light on what Marx really meant in his varied theoretical pronouncements, but in carefully laying out the steps in Marx's method makes it possible for a reader to put the dialectic to work in his or her own research. He also convincingly argues the case for why social scientists and humanists as well as philosophers should want to do so.

    On one side the alt right ranges from the once obscure neo-reactionary and white separatist movements, to geeky subcultures like 4chan, to more mainstream manifestations such as the Trump-supporting gay libertarian Milo Yiannopolous. On the other side, a culture of struggle sessions and virtue signalling lurks behind a therapeutic language of trigger warnings and safe spaces. The feminist side of the online culture wars has its equally geeky subcultures right through to its mainstream expression. Kill All Normies explores some of the cultural genealogies and past parallels of these styles and subcultures, drawing from transgressive styles of 60s libertinism and conservative movements, to make the case for a rejection of the perpetual cultural turn.

    In his introductory essay, John Cooper explains the presentation of these works, discusses questions concerning the chronology of their composition, comments on the dialogue form in which Plato wrote, and offers guidance on approaching the reading and study of Plato's works.Also included are concise introductions by Cooper and Hutchinson to each translation, meticulous annotation designed to serve both scholar and general reader, and a comprehensive index. This handsome volume offers fine paper and a high-quality Smyth-sewn cloth binding in a sturdy, elegant edition.