First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has."Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation" —Peter Fuller, Arts Review"The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace" —Geoff Dyer in Ways of TellingWinner of the 1972 Booker Prize for his novel, G., John Peter Berger (born November 5th, 1926) is an art critic, painter and author of many novels including A Painter of Our Time, From A to X and Bento’s Sketchbook.

    a personal confession of its creator and a kind of involuntary and unperceived memoir.". Stewart affirms this maxim in his colorful reinterpretation of the lives and works of 17th-century philosophers Spinoza and Leibniz. In November 1676, the foppish courtier Leibniz, "the ultimate insider... an orthodox Lutheran from conservative Germany," journeyed to The Hague to visit the self-sufficient, freethinking Spinoza, "a double exile... an apostate Jew from licentious Holland." A prodigious polymath, Leibniz understood Spinoza's insight that "science was in the process of rendering the God of revelation obsolete; that it had already undermined the special place of the human individual in nature." Spinoza embraced this new world. Seeing the orthodox God as a "prop for theocratic tyranny," he articulated the basic theory for the modern secular state. Leibniz, on the other hand, spent the rest of his life championing God and theocracy like a defense lawyer defending a client he knows is guilty. He elaborated a metaphysics that was, at bottom, a reaction to Spinoza and collapses into Spinozism, as Stewart deftly shows. For Stewart, Leibniz's reaction to Spinoza and modernity set the tone for "the dominant form of modern philosophy"—a category that includes Kant, Hegel, Bergson, Heidegger and "the whole 'postmodern' project of deconstructing the phallogocentric tradition of western thought." Readers of philosophy may find much to disagree with in these arguments, but Stewart's wit and profluent prose make this book a fascinating read.

    Its ultimate destination is a plausible, living validation of transcendence. Each of its three parts is like a turn of a spiral, exploring recurring ideas through the prisms of religious myth, truth and belief, respectively. With each turn, the book seeks to convey a more nuanced and complete understanding of the many facets of transcendence. Part I puts forward the controversial notion that many religious myths are actually true; and not just allegorically so. Part II argues that our own inner storytelling plays a surprising role in creating the seeming concreteness of things and the tangibility of history. Part III suggests, in the form of a myth, how deeply ingrained belief systems create the world we live in. The three themes, myth, truth and belief, flow into and interpenetrate each other throughout the book.

    Henry Bergson (1859-1941) was awarded the Nobel Prize in 1927. His works include Time & Free Will, An Introduction to Metaphysics, Creative Evolution & The Creative Mind.

    In 1971, at the height of the Vietnam War and at a time of great political and social instability, two of the world's leading intellectuals, Noam Chomsky and Michel Foucault, were invited by Dutch philosopher Fons Edlers to debate an age-old question: is there such a thing as "innate" human nature independent of our experiences and external influences? The resulting dialogue is one of the most original, provocative, and spontaneous exchanges to have occurred between contemporary philosophers, and above all serves as a concise introduction to their basic theories. What begins as a philosophical argument rooted in linguistics (Chomsky) and the theory of knowledge (Foucault), soon evolves into a broader discussion encompassing a wide range of topics, from science, history, and behaviorism to creativity, freedom, and the struggle for justice in the realm of politics. In addition to the debate itself, this volume features a newly written introduction by noted Foucault scholar John Rajchman and includes additional text by Noam Chomsky.

    The anthology that spans an entire lifetime of writing by America's greatest curmudgeon, with a "flick of mischief on nearly every page."

    Taking examples from the plays of Aeschylus, Sophocles and Euripides, The Poetics introduces into literary criticism such central concepts as mimesis (‘imitation’), hamartia (‘error’), and katharsis (‘purification’). Aristotle explains how the most effective tragedies rely on complication and resolution, recognition and reversals, centring on characters of heroic stature, idealized yet true to life. One of the most powerful, perceptive and influential works of criticism in Western literary history, the Poetics has informed serious thinking about drama ever since.Malcolm Heath’s lucid English translation makes the Poetics fully accessible to the modern reader. It is accompanied by an extended introduction, which discusses the key concepts in detail and includes suggestions for further reading.

    Besides his work on popular culture, Zizek is concerned with politics and ideology. Introducing Slavoj Zizek reveals a provocateur whose work on Lacanian psychoanalysis collides with Marxist philosophy—creating the world's hippest philosopher.Christopher Kul-Want is course director of the MA in Fine Art at Byam Shaw School of Art, London.Piero is an illustrator, artist, and graphic designer whose work has been exhibited in the Royal College of Art, London.

    Richard Rorty, a Princeton professor who had contributed to the analytic tradition in philosophy, was now attempting to shrug off all the central problems with which it had long been preoccupied. After publication, the Press was barely able to keep up with demand, and the book has since gone on to become one of its all-time best-sellers in philosophy. Rorty argued that, beginning in the seventeenth century, philosophers developed an unhealthy obsession with the notion of representation. They compared the mind to a mirror that reflects reality. In their view, knowledge is concerned with the accuracy of these reflections, and the strategy employed to obtain this knowledge--that of inspecting, repairing, and polishing the mirror--belongs to philosophy. Rorty's book was a powerful critique of this imagery and the tradition of thought that it spawned. He argued that the questions about truth posed by Descartes, Kant, Hegel, and modern epistemologists and philosophers of language simply couldn't be answered and were, in any case, irrelevant to serious social and cultural inquiry. This stance provoked a barrage of criticism, but whatever the strengths of Rorty's specific claims, the book had a therapeutic effect on philosophy. It reenergized pragmatism as an intellectual force, steered philosophy back to its roots in the humanities, and helped to make alternatives to analytic philosophy a serious choice for young graduate students. Twenty-five years later, the book remains a must-read for anyone seriously concerned about the nature of philosophical inquiry and what philosophers can and cannot do to help us understand and improve the world.

    Alexis de Tocqueville, a young French aristocrat, came to the young nation to investigate the functioning of American democracy & the social, political & economic life of its citizens, publishing his observations in 1835 & 1840. Brilliantly written, vividly illustrated with vignettes & portraits, Democracy in America is far more than a trenchant analysis of one society at a particular point in time. What will most intrigue modern readers is how many of the observations still hold true: on the mixed advantages of a free press, the strained relations among the races & the threats posed to democracies by consumerism & corruption. So uncanny is Tocqueville’s insight & so accurate are his predictions, that it seems as tho he were not merely describing the American identity but actually helping to create it.

    No conversation about the dangers of technology and its unavoidable effects on society can begin without a careful reading of this book."A magnificent book . . . He goes through one human activity after another and shows how it has been technicized, rendered efficient, and diminished in the process."-Harper's"One of the most important books of the second half of the twentieth-century. In it, Jacques Ellul convincingly demonstrates that technology, which we continue to conceptualize as the servant of man, will overthrow everything that prevents the internal logic of its development, including humanity itself-unless we take necessary steps to move human society out of the environment that 'technique' is creating to meet its own needs."-The Nation"A description of the way in which technology has become completely autonomous and is in the process of taking over the traditional values of every society without exception, subverting and suppressing these values to produce at last a monolithic world culture in which all non-technological difference and variety are mere appearance."-Los Angeles Free Press

    The masterly essay on Tolstoy's view of history, in which Sir Isaiah underlines a fundamental distinction between those people (foxes) who are fascinated by the infinite variety of things and those (hedgehogs) who relate everything to a central, all-embracing system.

    L. Doctorow is acclaimed internationally for such novels as "Ragtime, Billy Bathgate, " and "The March." Now here are Doctorow's rich, revelatory essays on the nature of imaginative thought. In "Creationists," Doctorow considers creativity in its many forms: from the literary (Melville and Mark Twain) to the comic (Harpo Marx) to the cosmic (Genesis and Einstein). As he wrestles with the subjects that have teased and fired his own imagination, Doctorow affirms the idea that "we know by what we create." Just what is Melville doing in "Moby-Dick"? And how did "The Adventures of Tom Sawyer" impel Mark Twain to radically rewrite what we know as "Huckleberry Finn"? Can we ever trust what novelists say about their own work? How could Franz Kafka have written a book called Amerika without ever leaving Europe? In posing such questions, Doctorow grapples with literary creation not as a critic or as a scholar-but as one working writer frankly contemplating the work of another. It's a perspective that affords him both protean grace and profound insight. Among the essays collected here are Doctorow's musings on the very different Spanish Civil War novels of Ernest Hemingway and Andre Malraux; a candid assessment of Edgar Allan Poe as our "greatest bad writer"; a bracing analysis of the story of Genesis in which God figures as the most complex and riveting character. Whether he is considering how Harpo Marx opened our eyes to surrealism, the haunting photos with which the late German writer W. G. Sebald illustrated his texts, or the innovations of such literary icons as Heinrich von Kleist, Harriet Beecher Stowe, and Sinclair Lewis, Doctorow is unfailingly generous, shrewd, attentive, surprising, and precise.In examining the creative works of different times and disciplines, Doctorow also reveals the source and nature of his own artistry. Rich in aphorism and anecdote, steeped in history and psychology, informed by a lifetime of reading and writing, "Creationists" opens a magnificent window into one of the great creative minds of our time.

    At the heart of his ever-relevant inquiry is the inescapable conflict in the West between marriage and passion—the first associated with social and religious responsiblity and the second with anarchic, unappeasable love as celebrated by the troubadours of medieval Provence. These early poets, according to de Rougemont, spoke the words of an Eros-centered theology, and it was through this "heresy" that a European vocabulary of mysticism flourished and that Western literature took on a new direction.Bringing together historical, religious, philosophical, and cultural dimensions, the author traces the evolution of Western romantic love from its literary beginnings as an awe-inspiring secret to its commercialization in the cinema. He seeks to restore the myth of love to its original integrity and concludes with a philosophical perspective on modern marriage.

    His plays pack theatres and provide Hollywood with block-buster scripts; his works inspire mountains of scholarship and criticism every year. He has given us many of the very words we speak, and even some of the thoughts we think. Nick Groom and Piero explore how Shakespeare became so famous and influential, and why he is still widely considered the greatest writer ever. They investigate how the Bard has been worshiped at different times and in different places, used and abused to cultural and political ends, and the roots of intense controversies which have surrounded his work. Much more than a biography or a guide to his plays and sonnets, Introducing Shakespeare is a tour through the world of Will and concludes that even after centuries, Shakespeare remains the battlefield on which our very comprehension of humanity is being fought out.