Hacker leads us into a world of philosophical investigation in which to smell a rat is ever so much easier than to trap it. Wittgenstein defined humans as language-using creatures. The role of philosophy is to ask questions which reveal the limits and nature of language. Taking the expression, description and observation of pain as examples, Hacker explores the ingenuity with which Wittgenstein identified the rules and set the limits of language. (less)

    Much better known for his incisive and mordant explorations of power and social exclusion, Foucault here assumes a more playful stance. By exploring the nuances and ambiguities of Magritte's visual critique of language, he finds the painter less removed than previously thought from the pioneers of modern abstraction.

    As seen on the Tonight Show with Jay Leno (twice!) as well as 2 dozen other TV programs, Brian's now the host of the popular online series "Scam School," (downloaded over 1 million times a month, and named by iTunes as a "top video podcast" of 2008 and 2009). ...And THIS is the book that started it all.With 57 killer tricks (and 8 bonus scams), any one of these tricks could win you the cost of a free drink or more... and yet your investment will be LESS THAN 2 CENTS PER TRICK!Short enough to digest in an evening, yet powerful enough to score you free drinks for the rest of your life... "Cheats, Cons, Swindles and Tricks" could be the single best investment of 99 cents you'll ever make.

    More than a literary text with critical commentary, it constitutes an event of central significance for contemporary philosophical, literary, and political concerns.The book consists of The Instant of My Death, a powerful short prose piece by Blanchot, and an extended essay by Derrida that reads it in the context of questions of literature and of bearing witness. Blanchot's narrative concerns a moment when a young man is brought before a firing squad during World War II and then suddenly finds himself released from his near death. The incident, written in the third person, is suggestively autobiographical—from the title, several remarks in the text, and a letter Blanchot wrote about a similar incident in his own life—but only insofar as it raises questions for Blanchot about what such an experience might mean. The accident of near death becomes, in the instant the man is released, the accident of a life he no longer possesses. The text raises the question of what it means to write about a (non)experience one cannot claim as one's own, and as such is a text of testimony or witness.Derrida's reading of Blanchot links the problem of testimony to the problem of the secret and to the notion of the instant. It thereby provides the elements of a more expansive reassessment of literature, testimony, and truth. In addressing the complex relation between writing and history, Derrida also implicitly reflects on questions concerning the relation between European intellectuals and World War II.

    The debate had engaged the European literary community since the 1930s; with this fierce manifesto, Barthes challenged the notion of literature's obligation to be socially committed. Yes, Barthes allows, the writer has a political and ethical responsibility. But the history of French literature shows that the writer has often failed to meet it—and from his perspective, literature is committed to little more than the myth of itself. Expert and uncompromising, Writing Degree Zero introduced the themes that would soon establish Barthes as one of the leading voices in literary criticism.

    His philosophy directly inspired Napoleon Hill, James Allen, Wallace D. Wattles, and Elbert Hubbard. Today's inspirational leaders, like Tony Robbins, Wayne Dyer, Rhonda Byrne, and Oprah Winfrey, are equally indebted to Emerson. "We are the Builders of Our Fortunes" is the first-ever collection of Emerson's essential writings on success. In these ten essays, Emerson will teach you: How to develop your inner genius; How the power of thought shapes our world; How the universe responds to our every action; Why wealth is a spiritual phenomena; Why economies rise or fall; What defines human greatness; and much more. Includes an introduction by Charles Conrad, who also selected "Emerson's Keys to Success" after each chapter.

    & if you are froward, you shall see who is stronger, a gentle little girl who doesn't eat enough or a big wild man who has cocaine in his body. In my last severe depression I took coca again & a small dose lifted me to the heights." This lurid encomium to cocaine wasn't penned by an immature drug addict. It was written by Sigmund Freud, father of psychoanalysis, to his fiancee Martha Bernays. He frequently got kicks from cocaine. But as is clear from his newly compiled Cocaine Papers, his interest in the drug was scientific, not sensual. He sought for a miracle drug to benefit patients & make his reputation. He thought he'd found it in cocaine. Freud's study of cocaine has been shrouded in myths, half-truths & speculation. Cocaine Papers sets the facts straight. Annotated by his daughter Anna, it presents the complete authoritative versions of his own writings on the drug, including several pieces never before published, along with the work of other early experimenters. He's revealed as not only a driven &, ultimately, tragic seeker for a panacea, but also as one of the pioneers of psychopharmacology, the science of using drugs to treat mental illness. In 1884, before beginning studies leading to the development of psychoanalysis, Freud was 28, a fledgling physician with a fiancee but without funds to wed. He'd been searching for a way to establish himself & gain the respect of colleagues. A paper by German physician Theodor Aschenbrandt seemed to provide the way. Conquistadores had noted the stimulant effect of coca leaves on Andean Indians. Aschenbrandt tried the drug on Bavarian soldiers & reported that it suppressed their hunger while increasing mental powers & capacity to endure strain. Aschenbrandt's paper triggered Freud's studies. He obtained samples & tried it. It gave him an emotional lift, producing what he described as "normal euphoria." After that he used cocaine frequently with the same results. He coolly summarized his experiences in his notes: "You perceive an increase of self-control, possess more vitality & capacity for work. This result is enjoyed without any of the unpleasant aftermaths which accompany exhilaration thru alcoholic means." Freud continued to study cocaine's effects on himself & patients. He found it not only useful in overcoming depression but effective against some purely physiological complaints. He used it to treat stomach disorders & persistent coughing. He didn't administer it indiscriminately. Tho he initially believed it wasn't habit-forming, he found its effects on patients too unpredictable to justify widespread use. Tho he & some American physicians reported initial successes in treating morphine addicts, fellow physician Adolf Albrecht Erlenmeyer warned that cocaine was itself addictive, the "3rd scourge of mankind"—after morphine & alcohol. Freud realized Erlenmeyer was correct. His friend & patient, Ernst von Fleischl-Marxow, became the 1st morphine addict in Europe to be cured by cocaine. He was also one of the 1st to become dependent on it. This development dampened Freud's interest & helped turn his attention to the psychological theories that eventually won him fame. Freud's studies are considered basic to psychopharmacology. But they didn't lead to the discovery of its most effective clinical use. He abandoned his interest in cocaine just after he suggested that a colleague, Karl "Coca" Roller, experiment with its use in easing the pain of eye surgery. It was Koller & not Freud who invented local anesthesia.--Time (edited)

    This collection of essays and lectures spans his career, from his first essay on Zen Buddhism in 1955 to his final seminar, given only weeks before he died in 1973. The last essay The Practice of Meditation is written and illustrated in his own hand.

    E. Moore's defense of common sense, this much discussed volume collects Wittgenstein's reflections on knowledge and certainty, on what it is to know a proposition for sure.

    Exerting a profound influence upon such thinkers as Derrida, Lyotard, Blanchot, and Irigaray, Levinas's work bridges several major gaps in the evolution of continental philosophy--between modern and postmodern, phenomenology and poststructuralism, ethics and ontology. He is credited with having spurred a revitalized interest in ethics-based philosophy throughout Europe and America.Entre Nous (Between Us) is the culmination of Levinas's philosophy. Published in France a few years before his death, it gathers his most important work and reveals the development of his thought over nearly forty years of committed inquiry. Along with several trenchant interviews published here, these essays engage with issues of suffering, love, religion, culture, justice, human rights, and legal theory. Taken together, they constitute a key to Levinas's ideas on the ethical dimensions of otherness.Working from the phenomenological method of Edmund Husserl and Martin Heidegger, Levinas pushed beyond the limits of their framework to argue that it is ethics, not ontology, that orients philosophy, and that responsibility precedes reasoning. Ethics for Levinas means responsibility in relation to difference. Throughout his work, Levinas returns to the metaphor of the face of the other to discuss how and where responsibility enters our lives and makes philosophy necessary. For Levinas, ethics begins with our face to face interaction with another person--seeing that person not as a reflection of one's self, nor as a threat, but as different and greater than self. Levinas moves the reader to recognize the implications of this interaction: our abiding responsibility for the other, and our concern with the other's suffering and death.Situated at the crossroads of several philosophical schools and approaches, Levinas's work illuminates a host of critical issues and has found resonances among students and scholars of literature, law, religion, and politics. Entre Nous is at once the apotheosis of his work and an accessible introduction to it. In the end, Levinas's urgent meditations upon the face of the other suggest a new foundation upon which to grasp the nature of good and evil in the tangled skein of our lives.

    "Savoir," by Hélène Cixous, is a brief but densely layered account of her experience of recovered sight after a lifetime of severe myopia, an experience that ends with the unexpected turn of grieving for what is lost. Her literary inventiveness mines the coincidence in French between the two verbs savoir (to know) and voir (to see). Jacques Derrida's "A Silkworm of One's Own" complexly muses on a host of autobiographical, philosophical, and religious motifs—including his varied responses to "Savoir." The two texts are accompanied by six beautiful and evocative drawings that play on the theme of drapery over portions of the body.Veils suspends sexual difference between two homonyms: la voile (sail) and le voile (veil). A whole history of sexual difference is enveloped, sometimes dissimulated here—in the folds of sails and veils and in the turns, journeys, and returns of their metaphors and metonymies.However foreign to each other they may appear, however autonomous they may be, the two texts participate in a common genre: autobiography, confession, memoirs. The future also enters in: by opening to each other, the two discourses confide what is about to happen, the imminence of an event lacking any common measure with them or with anything else, an operation that restores sight and plunges into mourning the knowledge of the previous night, a "verdict" whose threatening secret remains out of reach by our knowledge.

    

    He used his considerable periods of spare time, between mundane duties like watching weather balloons, to make a series of notes on philosophy, literature, politics, history and autobiography that anticipate the themes of his later masterpieces, and often surpass them in literary verve and directness. These War Diaries form a portrait of Sartre in his most intense and brilliant phase. With them the twentieth century's most remarkable and public philosopher has provided us with a fitting posthumous monument to his honest and creativity.

    Hillis Miller.

    His work traverses the fields of philosophy, psychoanalysis, theology, history and political theory, taking in film, popular culture, literature and jokes -- all to provide acute analyses of the complexities of contemporary ideology as well as a serious and sophisticated philosophy. His recent films The Pervert's Guide to the Cinema and Zizek reveal a theorist at the peak of his powers and a skilled communicator. Now Verso are making these four classic titles, that stand as the core of his ever-expanding life's work, available as new editions. Each is beautifully repackaged, including new introductions from Zizek himself. Simply put, they are the essential texts for understanding Zizek's thought and thus cornerstones of contemporary philosophy.