Why do skeptical and relativistic arguments have such power in the contemporary intellectual world? Why do they have that power in the humanities but not in the sciences? Why has a significant portion of the political Left - the same Left that traditionally promoted reason, science, equality for all, and optimism - now switched to themes of anti-reason, anti-science, double standards, and cynicism? Explaining Postmodernism is intellectual history with a polemical twist, providing fresh insights into the debates underlying the furor over political correctness, multiculturalism, and the future of liberal democracy.

    Was the Battle of Hastings a French victory?Non! William the Conqueror was Norman and hated the French.Were the Brits really responsible for the death of Joan of Arc?Non! The French sentenced her to death for wearing trousers.Was the guillotine a French invention?Non! It was invented in Yorkshire.Ten centuries' worth of French historical 'facts' bite the dust as Stephen Clarke looks at what has really been going on since 1066 ...

    Together these documents form the Book of Sith. Over the centuries, the texts were passed among Force users who left handwritten notes and annotations in the margins, including Darth Vader, Yoda, Mace Windu, and Luke Skywalker, among others. Collected by acclaimed Star Wars writer Daniel Wallace and embellished by numerous esteemed Star Wars illustrators, this volume introduces new characters and history, and delves deeper into understanding the philosophies and methods behind the dark side of the Force.

    For the past two millennia, the ability to produce it in ever more efficient ways has supported the proliferation of literacy, media, religion, education, commerce, and art; it has formed the foundation of civilizations, promoting revolutions and restoring stability. One has only to look at history’s greatest press run, which produced 6.5 billion copies of Máo zhuxí yulu, Quotations from Chairman Mao Tse-tung (Zedong)—which doesn’t include editions in 37 foreign languages and in braille—to appreciate the range and influence of a single publication, in paper. Or take the fact that one of history’s most revered artists, Leonardo da Vinci, left behind only 15 paintings but 4,000 works on paper. And though the colonies were at the time calling for a boycott of all British goods, the one exception they made speaks to the essentiality of the material; they penned the Declaration of Independence on British paper.Now, amid discussion of “going paperless”—and as speculation about the effects of a digitally dependent society grows rampant—we’ve come to a world-historic juncture. Thousands of years ago, Socrates and Plato warned that written language would be the end of “true knowledge,” replacing the need to exercise memory and think through complex questions. Similar arguments were made about the switch from handwritten to printed books, and today about the role of computer technology. By tracing paper’s evolution from antiquity to the present, with an emphasis on the contributions made in Asia and the Middle East, Mark Kurlansky challenges common assumptions about technology’s influence, affirming that paper is here to stay. Paper will be the commodity history that guides us forward in the twenty-first century and illuminates our times.

    This celebrated account of the decipherment of Linear B in the 1950s by Michael Ventris was written by his close collaborator in the momentuous discovery. In revealing the secrets of Linear B it offers a valuable survey of late pre-Hellenic archaeology, uncovering fascinating details of the religious and economic history of an ancient civilization.

    to the tears found in today’s films. Drawing on works of literature, philosophy, art, and science from the writings of Plato and Darwin to the paintings of Picasso to modern medical journals, he unearths the multiple meanings and uses of tears.

    The intense relationship between the American people and their surroundings has been the source of a rich artistic tradition. American Visions is a consistently revealing demonstration of the many ways in which artists have expressed this pervasive connection. In nine eloquent chapters, which span the whole range of events, movements, and personalities of more than three centuries, Robert Hughes shows us the myriad associations between the unique society that is America and the art it has produced:"O My America, My New Founde Land"  explores the churches, religious art, and artifacts of the Spanish invaders of the Southwest and the Puritans of New England; the austere esthetic of the Amish, the Quakers, and the Shakers; and the Anglophile culture of Virginia."The Republic of Virtue"  sets forth the ideals of neo-classicism as interpreted in the paintings of Benjamin West, John Singleton Copley, and the Peale family, and in the public architecture of Thomas Jefferson, Benjamin Latrobe, and Charles Bulfinch."The Wilderness and the West"  discusses the work of landscape painters such as Thomas Cole, Frederick Church, and the Luminists, who viewed the natural world as "the fingerprint of God's creation,"  and of those who recorded America's westward expansion--George Caleb Bingham, Albert Bierstadt, and Frederic Remington--and the accompanying shift in the perception of the Indian, from noble savage to outright demon."American Renaissance" describes the opulent era that followed the Civil War, a cultural flowering expressed in the sculpture of Augustus Saint-Gaudens; the paintings of John Singer Sargent, Mary Cassatt, and Childe Hassam; the Newport cottages of the super-rich; and the beaux-arts buildings of Stanford White and his partners."The Gritty Cities"  looks at the post-Civil War years from another perspective: cast-iron cityscapes, the architecture of Louis Henri Sullivan, and the new realism of Thomas Eakins, Winslow Homer, the trompe-l'oeil painters, and the Ashcan School."Early Modernism" introduces the first American avant garde: the painters Arthur Dove, Marsden Hartley, Joseph Stella, Charles Demuth, Charles Sheeler, and Georgia O'Keeffe, and the premier architect of his time, Frank Lloyd Wright."Streamlines and Breadlines"  surveys the boom years, when skyscrapers and Art Deco were all the rage . . . and the bust years that followed, when painters such as Edward Hopper, Stuart Davis, Thomas Hart Benton, Diego Rivera, and Jacob Lawrence showed Americans "the way we live now." "The Empire of Signs"  examines the American hegemony after World War II, when the Abstract Expressionists (Jackson Pollock, Willem de Kooning, Mark Rothko, et al.) ruled the artistic roost, until they were dethroned by Jasper Johns, Robert Rauschenberg, the Pop artists, and Andy Warhol, while individualists such as David Smith and Joseph Cornell marched to their own music."The Age of Anxiety"  considers recent events: the return of figurative art and the appearance of minimal and conceptual art; the speculative mania of the 1980s, which led to scandalous auction practices and inflated reputations; and the trends and issues of art in the 90s.Lavishly illustrated and packed with biographies, anecdotes, astute and stimulating critical commentary, and sharp social history, American Visions is published in association with a new eight-part PBS television series. Robert Hughes has called it "a love letter to America."  This superb volume, which encompasses and enlarges upon the series, is an incomparably entertaining and insightful contemplation of its splendid subject.

    Scott Fitzgerald, Ernest Hemingway, Tennessee Williams, John Berryman, John Cheever, and Raymond Carver. All six of these writers were alcoholics, and the subject of drinking surfaces in some of their finest work, from Cat on a Hot Tin Roof to A Moveable Feast. Often they did their drinking together—Hemingway and Fitzgerald ricocheting through the cafés of 1920s Paris; Carver and Cheever speeding to the liquor store in Iowa in the icy winter of 1973.Olivia Laing grew up in an alcoholic family herself. One spring, wanting to make sense of this ferocious, entangling disease, she took a journey across America that plunged her into the heart of these overlapping lives. As she travels from Cheever's New York to Williams' New Orleans, from Hemingway's Key West to Carver's Port Angeles, she pieces together a topographical map of alcoholism, from the horrors of addiction to the miraculous possibilities of recovery. Beautiful, captivating and original, The Trip to Echo Spring strips away the myth of the alcoholic writer to reveal the terrible price creativity can exert.

    The theme of Heisenberg's exposition is that words and concepts familiar in daily life can lose their meaning in the world of relativity and quantum physics. This in turn has profound philosophical implications for the nature of reality and for our total world view.

    Its sweeping synthesis casts fresh light on our new forms of marriage and family, on today's dramatic changes in business and economics. It explains the role of cults, the new definitions of work, play, love, and success. It points toward new forms of twenty-first-century democracy.

    . . . This treasure trove of linguistics, sociology, history and folklore offers a fascinating look at how, through the centuries, a unique and enduring language has reflected an equally unique and enduring culture.”—Publishers Weekly, starred reviewThe main spoken language of the Jews for more than 1,000 years, Yiddish offers a comprehensive picture of the mind-set that enabled them to survive a millennium of unrelenting persecution across Europe. Through the idioms, phrases, metaphors, and fascinating history of this wonderful tongue, Michael Wex gives us a moving and inspiring portrait of a people, and a language, in exile. From tukhes to goy, meshugener to bobe mayse (cok-and-bull story), Born to Kvetch offers a wealth of material, some that has never appeared in English before, on all elements of Yiddish life, including food, nature, divinity, humanity, and even sex.

    She has also added a section to the book entitled "Vogue Words," which includes words that have acquired a new power and influence.

    But nothing prepared her for the surprises of learning Mandarin, China's most common language, or the intensity of living in Shanghai and Beijing. Over time, she realized that her struggles and triumphs in studying the language of her adopted home provided small clues to deciphering the behavior and habits of its people,and its culture's conundrums. As her skill with Mandarin increased, bits of the language—a word, a phrase, an oddity of grammar—became windows into understanding romance, humor, protocol, relationships, and the overflowing humanity of modern China. Fallows learned, for example, that the abrupt, blunt way of speaking that Chinese people sometimes use isn't rudeness, but is, in fact, a way to acknowledge and honor the closeness between two friends. She learned that English speakers' trouble with hearing or saying tones—the variations in inflection that can change a word's meaning—is matched by Chinese speakers' inability not to hear tones, or to even take a guess at understanding what might have been meant when foreigners misuse them. In sharing what she discovered about Mandarin, and how those discoveries helped her understand a culture that had at first seemed impenetrable, Deborah Fallows's Dreaming in Chinese opens up China to Westerners more completely, perhaps, than it has ever been before.

    It focuses mainly on the study and use of language and Languages of the world, the phonetic structure and change, syntax, Morphology, written records, Dialect Geography, Fluctuation in the Frequency of Forms, Dialect, Applications and Outlook, etc.

    It considers both changes that occurred long ago, and those currently in progress. This substantially revised third edition includes two new chapters on change of meaning and grammaticalization. New sections have been added to other chapters, as well as over 150 new references. The work remains nontechnical in style and accessible to the reader with no previous knowledge of linguistics.