Now How Beautiful It Is And How Easily It Can Be Broken reveals all at once the enormous stature of Mendelsohn's achievement and demonstrates why he is considered one of our greatest critics. Writing with a lively intelligence and arresting originality, he brings his distinctive combination of scholarly rigor and conversational ease to bear across eras, cultures, and genres, from Roman games to video games.His interpretations of our most talked-about films—from the work of Pedro Almodóvar to Brokeback Mountain, from United 93 and World Trade Center to 300, Marie Antoinette, and The Hours—have sparked debate and changed the way we watch movies. Just as stunning and influential are his dispatches on theater and literature, from The Producers to Jeffrey Eugenides' Middlesex, from The Lovely Bones to the works of Harold Pinter. Together these thirty brilliant and engaging essays passionately articulate the themes that have made Daniel Mendelsohn a crucial voice in today's cultural conversation: the aesthetic and indeed political dangers of imposing contemporary attitudes on the great classics; the ruinous effect of sentimentality on the national consciousness in the post-9/11 world; the vital importance of the great literature of the past for a meaningful life in the present.How Beautiful It Is And How Easily It Can Be Broken makes it clear that no other contemporary thinker is as engaged with as many aspects of our culture and its influences as Mendelsohn is, and no one practices the vanishing art of popular criticism with more acuity, humor, and feeling.

    As a child, he rooted for conventionally good characters like wide-eyed Luke Skywalker in Star Wars. But as Klosterman aged, his alliances shifted—first to Han Solo and then to Darth Vader. Vader was a hero who consciously embraced evil; Vader wanted to be bad. But what, exactly, was that supposed to mean? When we classify someone as a bad person, what are we really saying (and why are we so obsessed with saying it)? In I Wear the Black Hat, Klosterman questions the very nature of how modern people understand the culture of villainy. What was so Machiavellian about Machiavelli? Why don’t we see Batman the same way we see Bernhard Goetz? Who’s more worthy of our vitriol—Bill Clinton or Don Henley? What was O.J. Simpson’s second-worst decision? And why is Klosterman still obsessed with some kid he knew for one week in 1985?Masterfully blending cultural analysis with self-interrogation and limitless imagination, I Wear the Black Hat delivers perceptive observations on the complexity of the anti-hero (seemingly the only kind of hero America still creates). I Wear the Black Hat is the rare example of serious criticism that’s instantly accessible and really, really funny. Klosterman is the only writer doing whatever it is he’s doing.

    Its doctrines appealed to people from all strata of ancient society-from the slave Epictetus to the emperor Marcus Aurelius. This book provides a lucid, comprehensive introduction to this great philosophical school. It gives an overview of the history of the school, covers its philosophy as a system, and explores the three main branches of Stoic theory. John Sellars includes historical information on the life and works of the ancient Stoic philosophers and summaries, analyses, and appraisals of their principal doctrines in logic, physics, and ethics. He also includes a fascinating account of the Stoic legacy from later antiquity to the present. The volume includes a glossary and chronology, which, together with its accessible yet authoritative approach, makes it the ideal choice for students, scholars, and general readers interested in what Stoicism has meant, both philosophically and historically, for western civilization.

    This bestseller balances a comprehensive and up-to-date anthology of major documents in literary criticism and theory — from Plato to the present — with the most thorough editorial support for understanding these challenging readings.

    Includes chapters on war - Western Asia, the Persians, Carthage and Rome, the Arabs, etc; religion - Arabian, Mecca, Israelites, the Jews, etc; liberty - Ancient Europe, the German Invasion, the Portuguese Discoveries, Abolition, etc.; and intellect. This classic work first published in 1872. Reade was an explorer and a disciple of Darwin who acknowledged that Descent of Man had left him little to say respecting the birth and infancy of the faculties and affections'. His The Martyrdom of Man, an essay in Universal History', dealing with war, religion, liberty, and intellect, was informed not only by Darwin, but the many other authors listed in the introduction . Reade declared his own atheism in defiance of 'the advice and wishes of several literary friends and his publisher.' The book takes us from Africa and throughout the world. Winwood Reade (1838-1875) was an atheist, traveler, and controversialist who traveled extensively through Africa, covered the Ashanti War, wrote against Roman Catholicism and other established forms of religion.

    It is the fundamental and paramount source of the creed, rituals, ethics, and laws of the Islamic religion. It is the book that ‘differentiates’ between right and wrong, so that nowadays, when the Muslim world is dealing with such universal issues as globalization, the environment, combating terrorism and drugs, issues of medical ethics, and feminism, evidence to support the various arguments is sought in the Qur'an. This supreme status stems from the belief that the Qur'an is the word of God, revealed to the Prophet Muhammad via the archangel Gabriel, and intended for all times and all places.The Qur'an was the starting point for all the Islamic sciences: Arabic grammar was developed to serve the Qur'an, the study of Arabic phonetics was pursued in order to determine the exact pronunciation of Qur'anic words, the science of Arabic rhetoric was developed in order to describe the features of the inimitable style of the Qur'an, the art of Arabic calligraphy was cultivated throughwriting down the Qur'an, the Qur'an is the basis of Islamic law and theology; indeed, as the celebrated fifteenth-century scholar and author Suyuti said, ‘Everything is based on the Qur'an’. The entire religious life of the Muslim world is built around the text of the Qur'an. As a consequence of the Qur'an, the Arabic language moved far beyond the Arabian peninsula, deeply penetrating manyother languages within the Muslim lands––Persian, Turkish, Urdu, Indonesian, and others. The first sura (or section) of the Qur'an, al-Fatiha, which is an essential part of the ritual prayers, is learned and read in Arabic by Muslims in all parts of the world, and many other verses and phrases in Arabic are also incorporated into the lives of non-Arabic-speaking Muslims.Muslim children start to learn portions of the Qur'an by heart in their normal schooling: the tradition of learning the entire Qur'an by heart started during the lifetime of the Prophet and continues to the present day. A person attaining this distinction becomes known as a hafiz, and this is still a prerequisite for admission to certain religious schools in Muslim countries. Nowadays the Qur'an is recited anumber of times daily on the radio and television in the Muslim world, and some Muslim countries devote a broadcasting channel for long hours daily exclusively to the recitation and study of the Qur'an. Muslims swear on the Qur'an for solemn oaths in the law-courts and in everyday life.

    Evil is found in words such as force, compulsion, tax, violence, theft, censure, and politics. Notice that in such things, there is no joy. None have any value to humanity. This book defines the doctrine of liberty, and teaches you why choices that affect your life can only rightfully be made by you.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    She finds that the clubs provide an intermediate space—not work, not home—where men can enjoyably experience their bodies and selves through conversation, fantasy, and ritualized voyeurism. At the same time, she shows how the dynamics of male pleasure and privilege in strip clubs are intertwined with ideas about what it means to be a man in contemporary America.Frank’s ethnography draws on her work as an exotic dancer in five clubs, as well as on her interviews with over thirty regular customers—middle-class men in their late-twenties to mid-fifties. Reflecting on the customers’ dual desires for intimacy and visibility, she explores their paradoxical longings for "authentic" interactions with the dancers, the ways these aspirations are expressed within the highly controlled and regulated strip clubs, and how they relate to beliefs and fantasies about social class and gender. She considers how regular visits to strip clubs are not necessarily antithetical to marriage or long-term heterosexual relationships, but are based on particular beliefs about marriage and monogamy that make these clubs desirable venues. Looking at the relative "classiness" of the clubs where she worked—ranging from the city’s most prestigious clubs to some of its dive bars—she reveals how the clubs are differentiated by reputations, dress codes, cover charges, locations, and clientele, and describes how these distinctions become meaningful and erotic for the customers. Interspersed throughout the book are three fictional interludes that provide an intimate look at Frank’s experiences as a stripper—from the outfits to the gestures, conversations, management, coworkers, and, of course, the customers.Focusing on the experiences of the male clients, rather than those of the female sex workers, G-Strings and Sympathy provides a nuanced, lively, and tantalizing account of the stigmatized world of strip clubs.

    In The Location of Culture, he uses concepts such as mimicry, interstice, hybridity, and liminality to argue that cultural production is always most productive where it is most ambivalent. Speaking in a voice that combines intellectual ease with the belief that theory itself can contribute to practical political change, Bhabha has become one of the leading post-colonial theorists of this era.

    Rumi was a 13th-century Persian mystic who believed that all human beings can, if they surrender themselves to the power of love, live in a condition of infinite bliss. Raficq Abdulla uses rhythm and powerful imagery to recreate the ecstatic state which Rumi considered so crucual to reach enlightenment.

    Adopting those aspects of the religion that suited his purposes, he turned Rome on a course from the relatively open, tolerant and pluralistic civilization of the Hellenistic world, towards a culture that was based on the rule of fixed authority, whether that of the Bible, or the writings of Ptolemy in astronomy and of Galen and Hippocrates in medicine. Only a thousand years later, with the advent of the Renaissance and the emergence of modern science, did Europe begin to free itself from the effects of Constantine's decision, yet the effects of his establishment of Christianity as a state religion remain with us, in many respects, today. Brilliantly wide-ranging and ambitious, this is a major work of history.

    The sheer number of false rumors and downright lies disseminated about the man and his films is truly astonishing. Yet Herzog's body of work is one of the most important in postwar European cinema. His international breakthrough came in 1973 with Aguirre, The Wrath of God, in which Klaus Kinski played a crazed Conquistador. For The Enigma of Kaspar Hauser, Herzog cast in the lead a man who had spent most of his life institutionalized, and two years later he hypnotized his entire cast to make Heart of Glass. He rushed to an explosive volcanic Caribbean island to film La Soufrière, paid homage to F. W. Murnau in a terrifying remake of Nosferatu, and in 1982 dragged a boat over a mountain in the Amazon jungle for Fitzcarraldo. More recently, Herzog has made extraordinary "documentary" films such as Little Dieter Needs to Fly. His place in cinema history is assured, and Paul Cronin's volume of dialogues provides a forum for Herzog's fascinating views on the things, ideas, and people that have preoccupied him for so many years.

    It tells the story of two parents from different cultural, linguistic, and ethnic-racial backgrounds who joined to raise their two children with their heritage languages outside their native countries. It also tells the children's story and the way they negotiated three cultures and languages and developed a trilingual identity. It sheds light on how parental support contributed to the children's simultaneous acquisition of three languages in an environment where the main input of the two heritage languages came respectively from the father and from the mother. It addresses the challenges and the unique language developmental characteristics of the two children during their trilingual acquisition process.