In short, philology was the queen of the human sciences. How did it become little more than an archaic word?In Philology, the first history of Western humanistic learning as a connected whole ever published in English, James Turner tells the fascinating, forgotten story of how the study of languages and texts led to the modern humanities and the modern university. The humanities today face a crisis of relevance, if not of meaning and purpose. Understanding their common origins--and what they still share--has never been more urgent.

    In his newest book, Franco "Bifo" Berardi argues that the notion of economic recovery is complete mythology. The coming years will inevitably see new surges of protest and violence, but the old models of resistance no longer apply. Society can either stick with the prescriptions and "rescues" that the economic and financial sectors have demanded at the expense of social happiness, culture, and the public good; or it can formulate an alternative. For Berardi, this alternative lies in understanding the current crisis as something more fundamental than an economic crisis: it is a crisis of the social imagination, and demands a new language by which to address it.This is a manifesto against the idea of growth, and against the concept of debt, the financial sector's two primary linguistic means of manipulating society. It is a call for exhaustion, and for resistance to the cult of energy on which today's economic free-floating market depends. To this end, Berardi introduces an unexpected linguistic political weapon--poetry: poetry as the insolvency of language, as the sensuous birth of meaning and desire, as that which cannot be reduced to information and exchanged like currency. If the protests now stirring about the world are to take shape and direction, then the revolution will be neither peaceful nor violent--it will be linguistic, or will not be at all.

    As the acclaimed translator Edith Grossman writes in her introduction, “My intention is to stimulate a new consideration of an area of literature that is too often ignored, misunderstood, or misrepresented.”For Grossman, translation has a transcendent importance: “Translation not only plays its important traditional role as the means that allows us access to literature originally written in one of the countless languages we cannot read, but it also represents a concrete literary presence with the crucial capacity to ease and make more meaningful our relationships to those with whom we may not have had a connection before. Translation always helps us to know, to see from a different angle, to attribute new value to what once may have been unfamiliar. As nations and as individuals, we have a critical need for that kind of understanding and insight. The alternative is unthinkable.”Throughout the four chapters of this bracing volume, Grossman’s belief in the crucial significance of the translator’s work, as well as her rare ability to explain the intellectual sphere that she inhabits as interpreter of the original text, inspires and provokes the reader to engage with translation in an entirely new way.

    In juxtaposing sex and the unbearable they don't propose that sex is unbearable, only that it unleashes unbearable contradictions that we nonetheless struggle to bear. In Berlant and Edelman's exchange, those terms invoke disturbances produced in encounters with others, ourselves, and the world, disturbances that tap into threats induced by fears of loss or rupture as well as by our hopes for repair. Through virtuoso interpretations of works of cinema, photography, critical theory, and literature, including Lydia Davis's story "Break It Down" (reprinted in full here), Berlant and Edelman explore what it means to live with negativity, with those divisions that may be irreparable. Together, they consider how such negativity affects politics, theory, and intimately felt encounters. But where their critical approaches differ, neither hesitates to voice disagreement. Their very discussion—punctuated with moments of frustration, misconstruction, anxiety, aggression, recognition, exhilaration, and inspiration—enacts both the difficulty and the potential of encounter, the subject of this unusual exchange between two eminent critics and close friends.

    From an immensely knowledgeable feminist perspective, in engaging, jargonless (!) prose, Bordo analyzes a whole range of issues connected to the body—weight and weight loss, exercise, media images, movies, advertising, anorexia and bulimia, and much more—in a way that makes sense of our current social landscape—finally! This is a great book for anyone who wonders why women's magazines are always describing delicious food as 'sinful' and why there is a cake called Death by Chocolate. Loved it!"—Katha Pollitt, Nation columnist and author of Subject to Debate: Sense and Dissents on Women, Politics, and Culture (2001)

    Barker covers an enormous amount of material. He explicates key concepts and theories in the field and focuses upon particular issues of contemporary interest. Barker is always fair in his assessment of contrasting arguments and alternative points of view. Cultural Studies - Theory and Practice will enable students to make sense of a complex, fascinating and vital field of study′ Jim McGuigan, University of LoughboroughIt is comprehensive in scope, clearly written, competent and accurate, and yet provides an original and useful perspective on cultural studies as well as an overview of key concepts, methods, topics, and the material of cultural studies Doug Kellner, Graduate School of Education, UCLAThe book is certainly the most wide ranging in the market and the book is very popular with students... they believe it represents good value for money because of its comprehensiveness... students appreciate the accessibility of the language and the explanation of difficult theoretical concepts Paul Manning Sociology Dept, de Montfort UniversityChris Barker has extensively revised and updated his bestselling textbook Cultural Studies, to produce an up-to-date second edition of a book that is already a comprehensive, one-stop guide for students of cultural studies and cultural theory.Widely adopted in its first edition the Second Edition is even more accessible to the student reader, featuring: two new chapters covering central problems in cultural studies; biology, evolution and culture; additional new material across the original chapters; added pedagogical features including chapter summaries, student exercises, boxed information, and more bullet points; greater clarity of expression; and an expanded glossary of key concepts.Comprehensive in scope, and authoritative and balanced in its analysis, Cultural Studies maps the field, and guides the reader through all the core topics included on Cultural Studies courses, including: the key concepts in cultural studies; the key figures and schools of thought; the essential methodologies; the historical roots of the subject; the turns toward ideology, language, gender, race and identity; the challenges posed by postmodernism and postcolonialism.This book is essential reading for all students of Cultural Studies, and the addition of even more student friendly features, will extend its readership.

    Generated from a confluence of sources including humanities and medicine, primary care medicine, narratology, and the study of doctor-patient relationships, narrative medicine is medicine practiced with the competence to recognize, absorb, interpret, and be moved by the stories of illness. By placing events in temporal order, with beginnings, middles, and ends, and by establishing connections among things using metaphor and figural language, narrative medicine helps doctors to recognize patients and diseases, convey knowledge, accompany patients through the ordeals of illness--and according to Rita Charon, can ultimately lead to more humane, ethical, and effective health care. Trained in medicine and in literary studies, Rita Charon is a pioneer of and authority on the emerging field of narrative medicine. In this important and long-awaited book she provides a comprehensive and systematic introduction to the conceptual principles underlying narrative medicine, as well as a practical guide for implementing narrative methods in health care. A true milestone in the field, it will interest general readers, and experts in medicine and humanities, and literary theory.

    Moved by the guilt of never having worked with his hands, Neruda opens with the despairing confession, “Why did I not make a broom? / Why was I given hands at all?” The themes of hands and work grow in significance as Neruda celebrates the carpenters, longshoremen, blacksmiths, and bakers—those laborers he admires most—and shares his exuberant adoration for the earth and the people upon it.Yes, I am guiltyof what I did not do,of what I did not sow, did not cut, did not measure,of never having rallied myself to populate lands,of having sustained myself in the desertsand of my voice speaking with the sand.Pablo Neruda (1904–1973) was a Chilean poet and diplomat who received the Nobel Prize in Literature in 1971. Recognized during his life as “a people’s poet,” he is considered one of the greatest artists of the twentieth century.William O’Daly is the best-selling translator of six of Pablo Neruda’s books, including The Book of Questions and The Sea and the Bells. His work as a translator has been featured on The Today Show.

    Writing in Harper's, Irving Howe described it as an exhilarating performance--this, one tells oneself, is what the life of the mind can be. Berlin's editor Henry Hardy has revised the text, incorporating a fifth essay that Berlin himself had wanted to include. He has also added further pieces that bear on the same topic, so that Berlin's principal statements on liberty are at last available together in one volume. Finally, in an extended preface and in appendices drawn from Berlin's unpublished writings, he exhibits some of the biographical sources of Berlin's lifelong preoccupation with liberalism. These additions help us to grasp the nature of Berlin's inner citadel, as he called it--the core of personal conviction from which some of his most influential writing sprung.

    From the left it can often be seen as the exclusive property of ruling classes, and from the right as an arid and totalizing exception to their own common sense. For some, the concept now seems too ubiquitous to be meaningful; for others, too cohesive for a world of infinite difference. Here, in a book written for both newcomers to the topic and those already familiar with the debate, Terry Eagleton unravels the many different definitions of ideology, and explores the concept’s tortuous history from the Enlightenment to postmodernism.Ideology provides lucid interpretations of the thought of key Marxist thinkers and of others such as Schopenhauer, Nietzsche, Freud and the various poststructuralists. As well as clarifying a notoriously confused topic, this new work by one of our most important contemporary critics is a controversial political intervention into current theoretical debates. It will be essential reading for students and teachers of literature and politics.

    Blessed with an unerring eye, he tackles a myriad of subjects with wit, poetry, and perspicacity, examining and questioning the art before him while reveling in the power and beauty of language. His writing springs from a desire to be understood by all readers, and a determination to help them engage with art of every kind.Covering subjects drawn from a broad canvas of the history of art—from ancient Greece, Mexico, and Byzantium, through Raphael, Rubens, and Rembrandt, to Bruce Nauman, Jean-Michel Basquiat, and John Currin—the writings collected here seek out with precision and economy the essence of the individual artist or work under discussion, but they never lose sight of the bigger picture: What is beauty? What does it mean to be an American artist? What can the art we produce and admire tell us about ourselves?With an imaginative introduction—twenty questions, each one posed to Schjeldahl by a different artist or writer—this collection will appeal to anyone who considers the experience of art, and of writing on art, an invitation to a voyage.Coverage includes:     • large-scale exhibitions at leading institutions around the world     • shows at private galleries     • profiles of prominent members of the art world     • personal accounts of time spent with artists     • the influences of museum spaces on our experience of art

    Should it be illegal to pay someone to gestate a baby for you?Full Surrogacy Now brings a fresh and unique perspective to the debate. Rather than making surrogacy illegal or allowing it to continue as is, Sophie Lewis argues we should be looking to radically transform it. Surrogates should be put front and centre, and their rights towards the babies they gestate should be expanded to acknowledge that surrogates are more than mere vessels. In doing so, we break down our assumptions that children necessarily belong to those whose genetics they share.This might sound like a radical proposal, but expanding our idea of who children belong to would be a good thing. Taking collective responsibility for children, rather than only caring for the ones we share DNA with, would radically transform notions of kinship. Adopting this expanded concept of surrogacy helps us see that it always, as the saying goes, takes a village to raise a child.

    Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essays and poems range over broad territory, moving from the plight of undocumented migrant workers to memories of her grandmother, from Aztec religion to the agony of writing. Anzaldua is a rebellious and willful talent who recognizes that life on the border, "life in the shadows," is vital territory for both literature and civilization. Venting her anger on all oppressors of people who are culturally or sexually different, the author has produced a powerful document that belongs in all collections with emphasis on Hispanic American or feminist issues.

    When we play video games, our facial expressions are rarely those of happiness or bliss. Instead, we frown, grimace, and shout in frustration as we lose, or die, or fail to advance to the next level. Humans may have a fundamental desire to succeed and feel competent, but game players choose to engage in an activity in which they are nearly certain to fail and feel incompetent. So why do we play video games even though they make us unhappy? Juul examines this paradox. In video games, as in tragic works of art, literature, theater, and cinema, it seems that we want to experience unpleasantness even if we also dislike it. Reader or audience reaction to tragedy is often explained as catharsis, as a purging of negative emotions. But, Juul points out, this doesn't seem to be the case for video game players. Games do not purge us of unpleasant emotions; they produce them in the first place. What, then, does failure in video game playing do? Juul argues that failure in a game is unique in that when you fail in a game, you (not a character) are in some way inadequate. Yet games also motivate us to play more, in order to escape that inadequacy, and the feeling of escaping failure (often by improving skills) is a central enjoyment of games. Games, writes Juul, are the art of failure: the singular art form that sets us up for failure and allows us to experience it and experiment with it. "The Art of Failure" is essential reading for anyone interested in video games, whether as entertainment, art, or education.

    The conjuction of death, art and femininity forms a rich and disturbing strata of Western culture, explored here in fascinating detail by Elisabeth Bronfen. Her examples range from Carmen to Little Nell, from Wuthering Heights to Vertigo, from Snow White to Frankenstein. The text is richly illustrated throughout with thirty-seven paintings and photographs. The argument that this book presents is that narrative and visual representations of death can be read as symptoms of our culture and because the feminine body is culturally constructed as the superlative site of "other" and "not me," culture uses art to dream the deaths of beautiful women.