Sheldon Wolin's Politics and Vision inspired and instructed two generations of political theorists after its appearance in 1960. This new edition retains intact the original ten chapters about political thinkers from Plato to Mill, and adds seven chapters about theorists from Marx and Nietzsche to Rawls and the postmodernists. The new chapters, which show how thinkers have grappled with the immense possibilities and dangers of modern power, are themselves a major theoretical statement. They culminate in Wolin's remarkable argument that the United States has invented a new political form, inverted totalitarianism, in which economic rather than political power is dangerously dominant. In this new edition, the book that helped to define political theory in the late twentieth century should energize, enlighten, and provoke generations of scholars to come.Wolin originally wrote Politics and Vision to challenge the idea that political analysis should consist simply of the neutral observation of objective reality. He argues that political thinkers must also rely on creative vision. Wolin shows that great theorists have been driven to shape politics to some vision of the Good that lies outside the existing political order. As he tells it, the history of theory is thus, in part, the story of changing assumptions about the Good.In the new chapters, Wolin displays all the energy and flair, the command of detail and of grand historical developments, that he brought to this story forty years ago. This is a work of immense talent and intense thought, an intellectual achievement that will endure.

    These culminated in What is Art?, published in 1898. Although Tolstoy perceived the question of art to be a religious one, he considered & rejected the idea that art reveals & reinvents through beauty. The works of Dante, Michelangelo, Shakespeare, Beethoven, Baudelaire & even his own novels are condemned in the course of Tolstoy's impassioned & iconoclastic redefinition of art as a force for good, for the improvement of humankind.

    His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.

    This best-selling text has guided tens of thousands of art students through the writing process. Students are shown how to analyze pictures (drawings, paintings, photographs), sculptures and architecture, and are prepared with the tools they need to present their ideas through effective writing.

    The book consists of a series of essays treating, among other topics, the definition of orthodox Marxism, the question of legality and illegality, Rosa Luxemburg as a Marxist, the changing function of Historic Marxism, class consciousness, and the substantiation and consciousness of the Proletariat. Writing in 1968, on the occasion of the appearance of his collected works, Lukacs evaluated the influence of this book as follows:"For the historical effect of History and Class Consciousness and also for the actuality of the present time one problem is of decisive importance: alienation, which is here treated for the first time since Marx as the central question of a revolutionary critique of capitalism, and whose historical as well as methodological origins are deeply rooted in Hegelian dialectic. It goes without saying that the problem was omnipresent. A few years after History and Class Consciousness was published, it was moved into the focus of philosophical discussion by Heidegger in his Being and Time, a place which it maintains to this day largely as a result of the position occupied by Sartre and his followers. The philologic question raised by L. Goldmann, who considered Heidegger's work partly as a polemic reply to my (admittedly unnamed) work, need not be discussed here. It suffices today to say that the problem was in the air, particularly if we analyze its background in detail in order to clarify its effect, the mixture of Marxist and Existentialist thought processes, which prevailed especially in France immediately after the Second World War. In this connection priorities, influences, and so on are not particularly significant. What is important is that the alienation of man was recognized and appreciated as the central problem of the time in which we live, by bourgeois as well as proletarian, by politically rightist and leftist thinkers. Thus, History and Class Consciousness exerted a profound effect in the circles of the youthful intelligentsia."

    A heritage at once nurturing and burdensome, the past allows us to make sense of the present whilst imposing powerful constraints upon the way that present develops. Some aspects of the past are celebrated, others expunged, as each generation reshapes its legacy in line with current needs. Drawing on all the arts, the humanities and the social sciences, the author uses sources as diverse as science fiction and psychoanalysis to examine how rebellion against inherited tradition has given rise to the modern cult of preservation and pervasive nostalgia. Profusely illustrated, The Past is a Foreign Country shows that although the past has ceased to be a sanction for inherited power or privilege, as a focus of personal and national identity and as a bulwark against massive and distressing change it remains as potent a force as ever in human affairs.

    A raucous eruption of language and a showcase for the best essayists of our time, The Outlaw Bible of American Essays chronicles American history and measures the boundlessness of dissident thought.

    In this remarkable history of the profession, Peter Novick shows how the idea and ideal of objectivity were elaborated, challenged, modified, and defended over the last century.Drawing on the unpublished correspondence as well as the published writings of hundreds of American historians from J. Franklin Jameson and Charles Beard to Arthur Schlesinger, Jr., and Eugene Genovese, That Nobel Dream is a richly textured account of what American historians have thought they were doing, or ought to be doing, when they wrote history -- how their principles influenced their practice and practical exigencies influenced their principles."An astute and provocative account of how the historical profession in American has dealt with its founding myth and central norm -- the ideal of objectivity." -- Dorothy Ross

    

    Acclaimed object-oriented philosopher Timothy Morton invites us to consider this philosophical issue as eminently political. In our relationship with nonhumans, we decide the fate of our humanity. Becoming human, claims Morton, actually means creating a network of kindness and solidarity with nonhuman beings, in the name of a broader understanding of reality that both includes and overcomes the notion of species. Negotiating the politics of humanity is the first crucial step in reclaiming the upper scales of ecological coexistence and resisting corporations like Monsanto and the technophilic billionaires who would rob us of our kinship with people beyond our species.

    J. Ayer in a fabled debate about the existence of God and the possibility of metaphysics, knew that seminary students were fed a woefully inadequate diet of theses and proofs, and that their familiarity with most of history's great thinkers was reduced to simplistic caricatures. Copleston set out to redress the wrong by writing a complete history of Western philosophy, one crackling with incident and intellectual excitement -- and one that gives full place to each thinker, presenting his thought in a beautifully rounded manner and showing his links to those who went before and to those who came after him. The result of Copleston's prodigious labors is a history of philosophy that is unlikely ever to be surpassed. Thought magazine summed up the general agreement among scholars and students alike when it reviewed Copleston's A History of Philosophy as "broad-minded and objective, comprehensive and scholarly, unified and well proportioned... We cannot recommend [it] too highly."

    Written by specialists on the various philosophers, this third edition has been expanded significantly to include both new and revised essays.

    Examining real and imagined oppositions between past and present, ancient and modern, oral and written history, History and Memory reveals the strands of continuity that have characterized historiography from ancient Mesopotamia to modern Europe.

    This volume, the first comprehensive English-language translation of Halbwach's writings on the social construction of memory, fills a major gap in the literature on the sociology of knowledge.Halbwachs' primary thesis is that human memory can only function within a collective context. Collective memory, Halbwachs asserts, is always selective; various groups of people have different collective memories, which in turn give rise to different modes of behavior. Halbwachs shows, for example, how pilgrims to the Holy Land over the centuries evoked very different images of the events of Jesus' life; how wealthy old families in France have a memory of the past that diverges sharply from that of the nouveaux riches; and how working class construction of reality differ from those of their middle-class counterparts.With a detailed introduction by Lewis A. Coser, this translation will be an indispensable source for new research in historical sociology and cultural memory.Lewis A. Coser is Distinguished Professor of Sociology Emeritus at the State University of New York and Adjunct Professor of Sociology at Boston College.

    Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero - the figure, often a female, who suffers pain and fright but eventually rises to vanquish the forces of oppression.