Collected after his death by his friend and literary executor Max Brod, here are more than two decades' worth of Franz Kafka's letters to the men and women with whom he maintained his closest personal relationships, from his years as a student in Prague in the early 1900s to his final months in the sanatorium near Vienna where he died in 1924.Sometimes surprisingly humorous, sometimes wrenchingly sad, they include charming notes to school friends; fascinating accounts to Brod about his work in its various stages of publication; correspondence with his publisher, Kurt Wolff, about manuscripts in progress, suggested book titles, type design, and late royalty statements; revealing exchanges with other young writers of the day, including Martin Buber and Felix Weltsch, on life, literature, and girls; and heartbreaking reports to his parents, sisters, and friends on the declining state of his health in the last months of his life.

    Nearly as frequently, he wrote dense and joyful letters to his wife, Clara Westhoff, expressing his dismay before the paintings and his ensuing revelations about art and life.Rilke was knowledgeable about art and had even published monographs, including a famous study of Rodin that inspired his New Poems. But Cézanne's impact on him could not be conveyed in a traditional essay. Rilke's sense of kinship with Cézanne provides a powerful and prescient undercurrent in these letters -- passages from them appear verbatim in Rilke's great modernist novel, The Notebooks of Malte Laurids Brigge. Letters on Cézanne is a collection of meaningfully private responses to a radically new art."Rilke makes the feeling and views around great art real, weaving into his letters the indescribable thing that gives us beauty, truth, pleasure."--HELEN FRANKENTHALER, Art & Antiques"[These letters] are themselves extraordinarily peaceful and concentrated, seeping with the sense and recognition of Cézanne's colors, in nature as on canvas, colors which seem a part of Rilke himself, of the words and paper."--JOHN BAYLEY, The New York Review of Books

    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.

    An astonishing synthesis of literary criticism, philosophy, theology, the theory of law and classical scholarship, it is undoubtedly one of the most important texts in twentieth century philosophy. Looking behind the self-consciousness of science, he discusses the tense relationship between truth and methodology. In examining the different experiences of truth, he aims to "present the hermeneutic phenomenon in its fullest extent."

    It was during the writing of this book that Culler developed his now famous and remarkably complex theory of poetics and narrative, and while never a populariser he nonetheless makes it crystal clear within these pages.

    The Hall of Uselessness forms the most complete collection yet of Leys’ fascinating essays, from Quixotism to China, from the sea to literature.Leys feuds with Christopher Hitchens, ponders the popularity of Victor Hugo and analyses the posthumous publication of Nabokov’s unfinished novel. He offers valuable insights into Mao’s Cultural Revolution and the Khmer Rouge, and discusses Orwell, Waugh and Confucius. He considers the intertwined nature of Chinese art, culture and history alongside the joys and difficulties of literary translation. The Hall of Uselessness is an illuminating compendium from a brilliant and highly acclaimed writer – a long-time resident of Australia who is truly a global citizen.

    The complete translation, from the Greek of A. O. Prickard's Oxford text, features an introduction by Grube, establishing the historical and critical context of the work, and a biographical index.

    He addresses the scope of Modern Art, from its founding days as Abstract Expressionism through its transformations to Pop, Op, Minimal, and Conceptual. This is Tom Wolfe "at his most clever, amusing, and irreverent" (San Francisco Chronicle).

    The relations between film style and mode of production are, according to the authors, reciprocal and mutually influencing. The authors trace such topics as style, economics, and technology over time, demonstrating how significant changes occurrred in Hollywood from the earliest days through the sixties.

    However, Burke's analysis of the relationship between emotion, beauty, and art form is now recognized as not only an important and influential work of aesthetic theory, but also one of the first major works in European literature on the Sublime, a subject that has fascinated thinkers from Kant and Coleridge to the philosophers and critics of today.

    Offering bold new ways of conceiving the present, Lauren Berlant describes the cruel optimism that has prevailed since the 1980s, as the social-democratic promise of the postwar period in the United States and Europe has retracted. People have remained attached to unachievable fantasies of the good life—with its promises of upward mobility, job security, political and social equality, and durable intimacy—despite evidence that liberal-capitalist societies can no longer be counted on to provide opportunities for individuals to make their lives “add up to something.”Arguing that the historical present is perceived affectively before it is understood in any other way, Berlant traces affective and aesthetic responses to the dramas of adjustment that unfold amid talk of precarity, contingency, and crisis. She suggests that our stretched-out present is characterized by new modes of temporality, and she explains why trauma theory—with its focus on reactions to the exceptional event that shatters the ordinary—is not useful for understanding the ways that people adjust over time, once crisis itself has become ordinary. Cruel Optimism is a remarkable affective history of the present.

    Intrigued by the evocative relationship between technologies of inscription and psychic processes, Derrida offers for the first time a major statement on the pervasive impact of electronic media, particularly e-mail, which threaten to transform the entire public and private space of humanity. Plying this rich material with characteristic virtuosity, Derrida constructs a synergistic reading of archives and archiving, both provocative and compelling."Judaic mythos, Freudian psychoanalysis, and e-mail all get fused into another staggeringly dense, brilliant slab of scholarship and suggestion."—The Guardian"[Derrida] convincingly argues that, although the archive is a public entity, it nevertheless is the repository of the private and personal, including even intimate details."—Choice"Beautifully written and clear."—Jeremy Barris, Philosophy in Review"Translator Prenowitz has managed valiantly to bring into English a difficult but inspiring text that relies on Greek, German, and their translations into French."—Library Journal

    Pater was shocked at the reaction his book inspired: 'I wish they would not call me a hedonist, it gives such a wrong impression to those who do not know Greek.'.The book had begun as a series of idiosyncratic, impressionistic critical essays on those artists that embodied for him the spirit of the Renaissance; by collecting them and adding his infamous Conclusion, Pater gained a reputation as a daring modern philosopher. But The Renaissance survives as one of the most innovative pieces of cultural criticism to emerge from the nineteenth century.

    At the time Jameson was actually writing the book, in the mid to late seventies, there was a major reaction against deconstruction and poststructuralism. As one of the most significant literary theorists, Jameson found himself in the unenviable position of wanting to defend his intellectual past yet keep an eye on the future. With this book he carried it off beautifully. A landmark publication, The Political Unconscious takes its place as one of the most meaningful works of the twentieth century.

    Abraham, Jacob, David, Solomon were Black. Pictures of the ancient Hebrews show this part of Biblical record to be accurate. These pictures are presented here!