In exploring the public meaning of ingeniously defended private meanings, de Certeau draws brilliantly on an immense theoretical literature in analytic philosophy, linguistics, sociology, semiology, and anthropology--to speak of an apposite use of imaginative literature.

    He outlines how democracy has begun to embrace its dark side---what he calls its “nocturnal body”---which is based on the desires, fears, affects, relations, and violence that drove colonialism. This shift has hollowed out democracy, thereby eroding the very values, rights, and freedoms liberal democracy routinely celebrates. As a result, war has become the sacrament of our times in a conception of sovereignty that operates by annihilating all those considered enemies of the state. Despite his dire diagnosis, Mbembe draws on post-Foucauldian debates on biopolitics, war, and race as well as Fanon's notion of care as a shared vulnerability to explore how new conceptions of the human that transcend humanism might come to pass. These new conceptions would allow us to encounter the Other not as a thing to exclude but as a person with whom to build a more just world.

    Illuminations includes Benjamin's views on Kafka, with whom he felt the closest personal affinity, his studies on Baudelaire and Proust (both of whom he translated), his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study on "The Work of Art in the Age of Mechanical Reproduction," an illuminating discussion of translation as a literary mode, and his thesis on the philosophy of history. Hannah Arendt selected the essays for this volume and prefaces them with a substantial, admirably informed introduction that presents Benjamin's personality and intellectual development, as well as his work and his life in dark times. Reflections the companion volume to this book, is also available as a Schocken paperback.Unpacking My Library, 1931The Task of the Translator, 1913The Storyteller, 1936Franz Kafka, 1934Some Reflections on Kafka, 1938What Is Epic Theater?, 1939On Some Motifs in Baudelaire, 1939The Image of Proust, 1929The Work of Art in the Age of Mechanical Reproduction, 1936Theses on the Philosophy of History, written 1940, pub. 1950

    This second edition, newly introduced by Marcuse scholar Douglas Kellner, presents Marcuse's best-selling work to another generation of readers in the context of contemporary events.

    Drawing on both her roots in Kentucky and her adventures with Manhattan Coop boards, Where We Stand is a successful black woman's reflection--personal, straight forward, and rigorously honest--on how our dilemmas of class and race are intertwined, and how we can find ways to think beyond them.

    . . has concentrated into 176 pages a profoundly affecting argument" (Business Week) that draws on interviews with dismissed IBM executives, bakers, a bartender turned advertising executive, and many others to call into question the terms of our new economy. In his 1972 classic, The Hidden Injuries of Class (written with Jonathan Cobb), Sennett interviewed a man he called Enrico, a hardworking janitor whose life was structured by a union pay schedule and given meaning by his sacrifices for the future. In this new book-a #1 bestseller in Germany-Sennett explores the contemporary scene characterized by Enrico's son, Rico, whose life is more materially successful, yet whose work lacks long-term commitments or loyalties. Distinguished by Sennett's "combination of broad historical and literary learning and a reporter's willingness to walk into a store or factory [and] strike up a conversation" (New York Times Book Review), this book "challenges the reader to decide whether the flexibility of modern capitalism . . . is merely a fresh form of oppression" (Publishers Weekly, starred review). Praise for The Corrosion of Character: "A benchmark for our time."—Daniel Bell "[A]n incredibly insightful book."—William Julius Wilson "[A] remarkable synthesis of acute empirical observation and serious moral reflection."—Richard Rorty "[Sennett] offers abundant fresh insights . . . illuminated by his concern with people's struggle to give meaning to their lives."—[Memphis] Commercial Appeal

    He draws on interviews with some of the world’s highest performing researchers, the literature and his own experience to identify a small number of important insights that can transform how researchers work. The book is based on an unparalleled breadth of interdisciplinary evidence that speaks directly to researchers of all disciplines and career stages. The lessons in this book will make you more productive, more satisfied with what you produce, and enable you to be happy working less, and being more. The hardback edition has the title and design imprinted on a fabric cover, hand crafted by a book maker in Yorkshire. It contains spectacular colour photography throughout. Chapters are accompanied by close-up images of trees that build up to the forest metaphor that concludes the book. These are bookended by wide perspective canopy images that accompany the front matter (from which the cover design is derived) and concluding chapter. The overall effect is a touch and feel that makes this a book to savour. Mark Reed is Professor of Socio-Technical Innovation at Newcastle University and Visiting Professor at Birmingham City University and the University of Leeds. He has over 140 publications that have been cited more than 10,000 times. He is author of The Research Impact Handbook, which he has used to train over 4000 researchers from more than 200 institutions in 55 countries.

    This volume brings together their discussions on the philosophical and political import of the communist idea, highlighting both its continuing significance and the need to reconfigure the concept within a world marked by havoc and crisis.

    E-mail, instant messaging and chat are rapidly replacing conventional forms of correspondence, and the Web has become the first port of call for both information enquiry and leisure activity. How is this affecting language? There is a widespread view that as 'technospeak' comes to rule, standards will be lost. In this book, David Crystal argues the reverse: that the Internet has encouraged a dramatic expansion in the variety and creativity of language. Covering a range of Internet genres, including e-mail, chat, and the Web, this is a revealing account of how the Internet is radically changing the way we use language. This second edition has been thoroughly updated to account for more recent phenomena, with a brand new chapter on blogging and instant messaging. Engaging and accessible, it will continue to fascinate anyone who has ever used the Internet.

    A vital counter-interpretation of madness in women, showing how it is often a consequence of, rather than a deviation from, the traditional female role.

    Lemos, Teaching Philosophy'The single most comprehensive, reliable and economical collection ofRousseaus explicitly political writings.'--Michael Franz, Loyola College

    Her glory was to have no glory. In Greek tragedy, however, women die violently and, through violence, master their own fate. It is a genre that delights in blurring the formal frontier between masculine and feminine. Through the subtlety of her reading of these powerful and ambiguous texts, Nicole Loraux elicits an array of insights into Greek attitudes toward death, sexuality, and gender.

    Bennett argues that political theory needs to do a better job of recognizing the active participation of nonhuman forces in events. Toward that end, she theorizes a “vital materiality” that runs through and across bodies, both human and nonhuman. Bennett explores how political analyses of public events might change were we to acknowledge that agency always emerges as the effect of ad hoc configurations of human and nonhuman forces. She suggests that recognizing that agency is distributed this way, and is not solely the province of humans, might spur the cultivation of a more responsible, ecologically sound politics: a politics less devoted to blaming and condemning individuals than to discerning the web of forces affecting situations and events.Bennett examines the political and theoretical implications of vital materialism through extended discussions of commonplace things and physical phenomena including stem cells, fish oils, electricity, metal, and trash. She reflects on the vital power of material formations such as landfills, which generate lively streams of chemicals, and omega-3 fatty acids, which can transform brain chemistry and mood. Along the way, she engages with the concepts and claims of Spinoza, Nietzsche, Thoreau, Darwin, Adorno, and Deleuze, disclosing a long history of thinking about vibrant matter in Western philosophy, including attempts by Kant, Bergson, and the embryologist Hans Driesch to name the “vital force” inherent in material forms. Bennett concludes by sketching the contours of a “green materialist” ecophilosophy.

    Felski argues that critique is a sensibility best captured by Paul Ricoeur’s phrase “the hermeneutics of suspicion.” She shows how this suspicion toward texts forecloses many potential readings while providing no guarantee of rigorous or radical thought. Instead, she suggests, literary scholars should try what she calls “postcritical reading”: rather than looking behind a text for hidden causes and motives, literary scholars should place themselves in front of it and reflect on what it suggests and makes possible. By bringing critique down to earth and exploring new modes of interpretation, The Limits of Critique offers a fresh approach to the relationship between artistic works and the social world.

    In these essays Peter Zumthor expresses his motivation in designing buildings, which speak to our emotions and understanding in so many ways, and possess a powerful and unmistakable presence and personality. This book, whose first edition has been out of print for years, has been expanded to include three new essays: "Does Beauty Have a Form?," "The Magic of the Real," and "Light in the Landscape." It has been freshly illustrated throughout with new color photographs of Zumthor's new home and studio in Haldenstein, taken specially for this edition by Laura Padgett, and received a new typography by Hannele Gronlund.