In this short book, Andrew Culp polemically argues that this once-radical canon of joy has lost its resistance to the present. Concepts created to defeat capitalism have been recycled into business mantras that joyously affirm “Power is vertical; potential is horizontal!” Culp recovers the Deleuze’s forgotten negativity. He unsettles the prevailing interpretation through an underground network of references to conspiracy, cruelty, the terror of the outside, and the shame of being human. Ultimately, he rekindles opposition to what is intolerable about this world. Forerunners is a thought-in-process series of breakthrough digital works. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.

    Of interest to readers in gender studies and cultural studies, the psychology and sociology of emotions, and phenomenology and psychoanalysis, The Cultural Politics of the Emotions offers new ways of thinking about our inner and our outer lives.

    Basic Writings offers a full range of this profound and controversial thinker's writings in one volume, including:The Origin of the Work of ArtThe introduction to Being and TimeWhat Is Metaphysics?Letter on HumanismThe Question Concerning TechnologyThe Way to LanguageThe End of Philosophy

    Influenced by works such as Don Juan, and the novels of Kafka, these essays begin with a meditation on suicide: the question of living or not living in an absurd universe devoid of order or meaning. With lyric eloquence, Camus posits a way out of despair, reaffirming the value of personal existence, and the possibility of life lived with dignity and authenticity.

    The modern turn to subjectivity, with its attendant rejection of an objective order of reason, has led—it seems to many—to mere subjectivism at the mildest and to sheer nihilism at the worst. Many critics believe that the modern order has no moral backbone and has proved corrosive to all that might foster human good. Taylor rejects this view. He argues that, properly understood, our modern notion of the self provides a framework that more than compensates for the abandonment of substantive notions of rationality.The major insight of Sources of the Self is that modern subjectivity, in all its epistemological, aesthetic, and political ramifications, has its roots in ideas of human good. After first arguing that contemporary philosophers have ignored how self and good connect, the author defines the modern identity by describing its genesis. His effort to uncover and map our moral sources leads to novel interpretations of most of the figures and movements in the modern tradition. Taylor shows that the modern turn inward is not disastrous but is in fact the result of our long efforts to define and reach the good. At the heart of this definition he finds what he calls the affirmation of ordinary life, a value which has decisively if not completely replaced an older conception of reason as connected to a hierarchy based on birth and wealth. In telling the story of a revolution whose proponents have been Augustine, Montaigne, Luther, and a host of others, Taylor's goal is in part to make sure we do not lose sight of their goal and endanger all that has been achieved. Sources of the Self provides a decisive defense of the modern order and a sharp rebuff to its critics.

    It shows just why culture matters in an age without faith, and gives an extended argument, drawing on philosophy, criticism, and anthropology, against the "post-modernist" world-view. Scruton offers a penetrating attack on deconstruction, on Foucault, on Nietzschean self-indulgence, and on the "culture of repudiation" which has infected the modern academy. But his book is not only negative. It is a celebration of the true heroes of modern culture and a call to the higher life.The American edition of this famous and notorious work has been revised to take account of the controversy which it has inspired, and contains new material specially directed to Americans.

    In eleven acute and widely ranging essays, Irigaray reconsiders the question of female sexuality in a variety of contexts that are relevant to current discussion of feminist theory and practice. Among the topics she treats are the implications of the thought of Freud and Lacan for understanding womanhood and articulating feminine discourse; classic views on the significance of the difference between male and female sex organs; and the experience of erotic pleasure in men and women. She also takes up explicitly the question of economic exploitation of women; in an astute reading of Marx she shows that the subjection of woman has been institutionalized by her reduction to an object of economic exchange. Throughout Irigaray seeks to dispute and displace male-centered structures of language and thought through a challenging writing practice that takes a first step toward a woman's discourse, a discourse that would put an end to Western culture's enduring phallocentrism. Makin more direct and accessible the subversive challenge of Speculum of the Other Woman, this volume--skillfully translated by Catherine Porter with Carolyn Burke--will be essential reading for anyone seriously concerned with contemporary feminist issues.

    In The Location of Culture, he uses concepts such as mimicry, interstice, hybridity, and liminality to argue that cultural production is always most productive where it is most ambivalent. Speaking in a voice that combines intellectual ease with the belief that theory itself can contribute to practical political change, Bhabha has become one of the leading post-colonial theorists of this era.

    She discusses the foreigner in Greek tragedy, in the Bible, and in the literature of the Middle Ages, Renaissance, Enlightenment, and the twentieth century. She discusses the legal status of foreigners throughout history, gaining perspective on our own civilization. Her insights into the problems of nationality, particularly in France, are more timely and relevant in an increasingly integrated and fractious world.

    This conception of the machine as an arrangement of technical, bodily, intellectual, and social components subverts the opposition between man and machine, organism and mechanism, individual and community.Drawing from an unusual range of films, literature, and performance—from the role of bicycles in Flann O'Brien's fiction to Vittorio de Sica's Neorealist film The Bicycle Thieves, and from Karl Marx's “Fragment on Machines” to the deus ex machina of Greek drama—Raunig arrives at an enhanced conception of the machine as a social movement, finding its most apt and concrete manifestation in the Euromayday movement, which since 2001 has become a transnational activist and discursive practice focused upon the precarious nature of labor and lives.

    It also radicallly alters the general nature of daily life and the most personal aspects of human activity. In fact, one of the most distinctive features of modernity is the increasing interconnection between globalizing influences and personal dispositions. The author analyzes the nature of this interconnection and provides a conceptual vocabulary for it, in the process providing a major rethinking of the nature of modernity and a reworking of basic premises of sociological analysis.Building on the ideas set out in the authors The Consequences of Modernity, this book focuses on the self and the emergence of new mechanisms of self-identity that are shaped by—yet also shape—the institutions of modernity. The author argues that the self is not a passive entity, determined by external influences. Rather, in forging their self-identities, no matter how local their contexts of action, individuals contribute to and directly promote social influences that are global in their consequences and implications.The author sketches the contours of the he calls "high modernity"—the world of our day—and considers its ramifications for the self and self-identity. In this context, he analyzes the meaning to the self of such concepts as trust, fate, risk, and security and goes on the examine the "sequestration of experience," the process by which high modernity separates day-to-day social life from a variety of experiences and broad issues of morality. The author demonstrates how personal meaninglessness—the feeling that life has nothing worthwhile to offer—becomes a fundamental psychic problem in circumstances of high modernity. The book concludes with a discussion of "life politics," a politics of selfactualization operating on both the individual and collective levels.

    This ironic perspective on the human condition is valuable but it cannot advance liberalism's social and political goals. In fact, Rorty believes that it is literature and not philosophy that can do this, by promoting a genuine sense of human solidarity. Specifically, it is novelists such as Orwell and Nabokov who succeed in awakening us to the cruelty of particular social practices and individual attitudes. Thus, a truly liberal culture would fuse the private, individual freedom of the ironic, philosophical perspective with the public project of human solidarity as it is engendered through the insights and sensibilities of great writers. Rorty uses a wide range of references--from philosophy to social theory to literary criticism--to elucidate his beliefs.

    Ecological writers propose a new worldview, but their very zeal to preserve the natural world leads them away from the "nature" they revere. The problem is a symptom of the ecological catastrophe in which we are living. Morton sets out a seeming paradox: to have a properly ecological view, we must relinquish the idea of nature once and for all."Ecology without Nature" investigates our ecological assumptions in a way that is provocative and deeply engaging. Ranging widely in eighteenth-century through contemporary philosophy, culture, and history, he explores the value of art in imagining environmental projects for the future. Morton develops a fresh vocabulary for reading "environmentality" in artistic form as well as content, and traces the contexts of ecological constructs through the history of capitalism. From John Clare to John Cage, from Kierkegaard to Kristeva, from "The Lord of the Rings" to electronic life forms, "Ecology without Nature" widens our view of ecological criticism, and deepens our understanding of ecology itself. Instead of trying to use an idea of nature to heal what society has damaged, Morton sets out a radical new form of ecological criticism: "dark ecology."

    Ordinarily, these discourses only cross paths long enough for historicists to charge psychoanalysis with an indifference to history, but here psychoanalysis, via Lacan, goes on the offensive. Refusing to cede historicity to the historicists, Copjec makes a case for the superiority of Lacan's explanation of historical process, its generative principles, and its complex functionings.

    The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it. Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre. Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.