Arranged chronologically, the photos trace the story of the band, from their emergence on the scene in England, through their rise to international superstardom, to their very public breakup in 1970. Every aspect of their evolution from mop-tops to legends is depicted, including their personal lives, performances, press conferences, recording sessions, public appearances, photo sessions, filmmaking, and more. The captions by Simon Wells are rich in detail and provide both band history and cultural context for the photographs, as well as quotes from members of the band and those associated with them that have never been published. The insatiable hunger for new books about the Beatles has never waned, and this arresting volume-with its wealth of never- and seldom-seen pictures that have long been embargoed at the Getty Images archive-will have a special appeal for all Beatles fans.

    Hesperides Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

    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."

    Written during the Second World War and circulated privately, it appeared in a printed edition in Amsterdam in 1947. "What we had set out to do," the authors write in the Preface, "was nothing less than to explain why humanity, instead of entering a truly human state, is sinking into a new kind of barbarism."Yet the work goes far beyond a mere critique of contemporary events. Historically remote developments, indeed, the birth of Western history and of subjectivity itself out of the struggle against natural forces, as represented in myths, are connected in a wide arch to the most threatening experiences of the present. The book consists in five chapters, at first glance unconnected, together with a number of shorter notes. The various analyses concern such phenomena as the detachment of science from practical life, formalized morality, the manipulative nature of entertainment culture, and a paranoid behavioral structure, expressed in aggressive anti-Semitism, that marks the limits of enlightenment. The authors perceive a common element in these phenomena, the tendency toward self-destruction of the guiding criteria inherent in enlightenment thought from the beginning. Using historical analyses to elucidate the present, they show, against the background of a prehistory of subjectivity, why the National Socialist terror was not an aberration of modern history but was rooted deeply in the fundamental characteristics of Western civilization.Adorno and Horkheimer see the self-destruction of Western reason as grounded in a historical and fateful dialectic between the domination of external nature and society. They trace enlightenment, which split these spheres apart, back to its mythical roots. Enlightenment and myth, therefore, are not irreconcilable opposites, but dialectically mediated qualities of both real and intellectual life. "Myth is already enlightenment, and enlightenment reverts to mythology." This paradox is the fundamental thesis of the book.This new translation, based on the text in the complete edition of the works of Max Horkheimer, contains textual variants, commentary upon them, and an editorial discussion of the position of this work in the development of Critical Theory.

    1 An accident riveted him to a childhood memory, and this memory became sacred. In his early childhood, a liturgical drama was performed, a drama of which he was the officiant: he knew paradise and lost it, he was a child and was driven from his childhood. No doubt this "break" is not easy to localize. It shifts back and forth, at the dictate of his moods and myths, between the ages of ten and fifteen. But that is unimportant. What matters is that it exists and that he believes in it. His life is divided into two heterogeneous parts: before and after the sacred drama. Indeed, it is not unusual for the memory to condense into a single mythical moment the contingencies and perpetual rebeginnings of an individual history. What matters is that Genet lives and continues to relive this period of his life as if it had lasted only an instant. ____________________ 1 Pass?iste: one who is not adapted to the present age, who is not a man of his time, who "lives in the past."--Translator's note. ____________________ ? ? To say "instant" is to say fatal instant. The instant is the reciprocal and contradictory envelopment of the before by the after. One is still what one is going to cease to be and already what one is going to become. One lives one's death, one dies one's life. One feels oneself to be one's own self and another; the eternal is present in an atom of duration. In the midst of the fullest life, one has a foreboding that one will merely survive, one is afraid of the future. It is the time of anguish and of heroism, of pleasure and of destruction. An instant is sufficient to destroy, to enjoy, to kill, to be killed, to make one's fortune at the turn of a card. Genet carries in his heart a bygone instant which has lost none of its virulence, an infinitesimal and sacred void which concludes a death and begins a horrible metamorphosis. The argument of this liturgical drama is as follows: a child dies of shame; a hoodlum rises up in his place; the hoodlum will be haunted by the child. One would have to speak of resurrection, to evoke the old initiatory rites of shamanism and secret societies, were it not that Genet refuses categorically to be a man who has been resuscitated. 2 There was a death, that is all. And Genet is nothing other than a dead man. If he appears to be still alive, it is with the larval existence which certain peoples ascribe to their defunct in the grave. All his heroes have died at least once in their life. "After his first murder, Querelle experienced the feeling of being dead. . . . His human form--what is called the envelope of flesh-continued nevertheless to move about on the surface of the earth." His works are filled with meditations on death. The peculiarity of these spiritual exercises is that they almost never concern his future death, his being-to-die, but rather his being-dead, his death as past event. This original crisis also appears to him as a metamorphosis. The well-behaved child is suddenly transformed into a hoodlum, as Gregor Samsa was changed into a bug. Genet's attitude toward this metamorphosis is ambivalent: he both loathes it and yearns for it.

    Abrams has given us a remarkable study, admirably conceived and executed, a book of quite exceptional and no doubt lasting significance for a number of fields - for the history of ideas and comparative literature as well as for English literary history, criticism and aesthetics.

    Prather subtitled the book, "My struggle to become a person." It was the deeply felt record of his journey to a state of heightened self-knowledge and spiritual flowering. It became a perennial best-seller, and continues to enlighten, comfort, and amuse to this day.Notes to Each Other bravely explores the heart of a relationship that has lasted for 35 years—the relationship between Hugh and Gayle Prather. With remarkable candor, one couple traces the emotional route traveled to reach the coveted place where genuine communication, cooperation, and compassion dwell. First published 10 years ago, the book has here been updated and enlarged by the greater wisdom that comes with the experience of raising children and growing older together.Although drawn from two hearts, the book speaks with one voice, asking the questions all couples ask, from "Did I choose the right person?" to "How can you stand me?" Let it speak to you.

    Many definitions of postmodernism focus on its nature as the aftermath of the modern industrial age when technology developed. This book extends that analysis to postmodernism by looking at the status of science, technology, and the arts, the significance of technocracy, and the way the flow of information is controlled in the Western world.

    If...we could ask and it could reply, it would give up to us the most intimate secrets of life. -from Chapter II Anticipating not only modern scientific theories of psychology but also those of cosmology, this astonishing book sets out a impressive goal for itself: to reconcile human biology with a theory of consciousness. First published in France in 1907, and translated into English in 1911, this work of wonder was esteemed at the time in scientific circles and in the popular culture alike for its profound explorations of perception and memory and its surprising conclusions about the nature and value of art. Contending that intuition is deeper than intellect and that the real consequence of evolution is a mental freedom to grow, to change, to seek and create novelty, Bergson reinvigorated the theory of evolution by refusing to see it as merely mechanistic. His expansion on Darwin remains one of the most original and important philosophical arguments for a scientific inquiry still under fire today. French philosopher HENRI BERGSON (1859-1941) was born in Paris. Among his works are Matter and Memory (1896), An Introduction to Metaphysics (1903), and The Two Sources of Morality and Religion (1932). He was awarded the Nobel Prize for Literature in 1927.

    M. Cioran gives us portraits and evaluations - which he calls "admirations" - of Samuel Beckett, Jorge Luis Borges, F. Scott Fitzgerald, the poet Paul Valery, and Micea Eliade, among others. In alternating sections of aphorisms - his "anathemas" - he delivers insights on such topics as solitude, flattery, vanity, friendship, insomnia, music, morality, God, and the lure of disillusion.

    Perloff traces the poet's development through his early years at Harvard and his interest in French Dadaism and Surrealism to his later poems that fuse literary influence with elements from Abstract Expressionist painting, atonal music, and contemporary film. This edition contains a new Introduction addressing O'Hara's homosexuality, his attitudes toward racism, and changes in poetic climate cover the past few decades. "A groundbreaking study. [This book] is a genuine work of criticism. . . . Through Marjorie Perloff's book we see an O'Hara perhaps only his closer associates saw before: a poet fully aware of the traditions and techniques of his craft who, in a life tragically foreshortened, produced an adventurous if somewhat erratic body of American verse."—David Lenson, Chronicle of Higher Education"Perloff is a reliable, well-informed, discreet, sensitive . . . guide. . . . She is impressive in the way she deals with O'Hara's relationship to painters and paintings, and she does give first-rate readings of four major poems."—Jonathan Cott, New York Times Book Review

    The collection includes:RUPERT BROOKEPEACESAFETYTHE DEADTHE DEADTHE SOLDIEREDWARD THOMASADLESTROPTEARSTHE OWLRAINTHE CHERRY TREESAS THE TEAM'S HEAD-BRASSSIEGFRIED SASSOON"THEY"THE REAR-GUARDI STOOD WITH THE DEADSUICIDE IN TRENCHESTHE GENERALHOW TO DIEGLORY OF WOMENTHEIR FRAILTYDOES IT MATTER?SURVIVORSEVERYONE SANGTO ANY DEAD OFFICERSICK LEAVEIVOR GURNEYTO HIS LOVETHE SILENT ONEISAAC ROSENBERGBREAK OF DAY IN THE TRENCHESLOUSE HUNTINGON RECEIVING NEWS OF THE WARDEAD MAN'S DUMPRETURNING, WE HEAR THE LARKSWILFRED OWENANTHEM FOR DOOMED YOUTHAPOLOGIA PRO POEMATE MEODULCE ET DECORUM ESTSTRANGE MEETINGFUTILITYDISABLEDMINERSS.I.W.

    It chronicles every stage of Foucault’s personal and professional odyssey, from his early interest in dreams to his final preoccupation with sexuality and the nature of personal identity.

    Drawing upon everyday incidents, common situations and rural imagery, Frost fashioned poetry of great lyrical beauty and potent symbolism. Originally published in 1916 under the title Mountain Interval.

    Through careful use of modern examples and engaging activities, this text provides an accessible, readable, student-centred guide to Descartes' Meditations, which is a set text for AQA AS Philosophy.