This book, which presents Spinoza's main ideas in dictionary form, has as its subject the opposition between ethics and morality, and the link between ethical and ontological propositions. His ethics is an ethology, rather than a moral science. Attention has been drawn to Spinoza by deep ecologists such as Arne Naess, the Norwegian philosopher; and this reading of Spinoza by Deleuze lends itself to a radical ecological ethic. As Robert Hurley says in his introduction, "Deleuze opens us to the idea that the elements of the different individuals we compose may be nonhuman within us. One wonders, finally, whether Man might be defined as a territory, a set of boundaries, a limit on existence."Gilles Deleuze, known for his inquiries into desire, language, politics, and power, finds a kinship between Spinoza and Nietzsche. He writes, "Spinoza did not believe in hope or even in courage; he believed only in joy and in vision . . . he more than any other gave me the feeling of a gust of air from behind each time I read him, of a witch's broom that he makes one mount."Gilles Deleuze (1925-1995) was a French philosopher whose writings influenced many philosophical disciplines such as literary theory, post-structuralism, and postmodernism. He also taught philosophy at the University of Paris at Vicennes.Robert Hurley was a translator for many French philosophers including Michael Foucault (History of Sexuality), Gilles Deleuze, and George Bataille (Theory of Religion).

    Lewellyn Powys called it "the greatest work of prose of the greatest period of English prose-writing," while the celebrated surgeon William Osler declared it the greatest of medical treatises. And Dr. Johnson, Boswell reports, said it was the only book that he rose early in the morning to read with pleasure. In this surprisingly compact and elegant new edition, Burton's spectacular verbal labyrinth is sure to delight, instruct, and divert today's readers as much as it has those of the past four centuries.

    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

    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.

    Kennedy's memoir of discovery is personal and historical, cultural, and autobiographical.

    Pieper shows that the Greeks understood and valued leisure, as did the medieval Europeans. He points out that religion can be born only in leisure - a leisure that allows time for the contemplation of the nature of God. Leisure has been, and always will be, the first foundation of any culture.He maintains that our bourgeois world of total labor has vanquished leisure, and issues a startling warning: Unless we regain the art of silence and insight, the ability for nonactivity, unless we substitute true leisure for our hectic amusements, we will destroy our culture - and ourselves.These astonishing essays contradict all our pragmatic and puritanical conceptions about labor and leisure; Josef Pieper demolishes the twentieth-century cult of "work" as he predicts its destructive consequences.

    The work also constitutes an enduring critique of liberalism and socialism from the perspective of an extreme eccentric individualism. Stirner has latterly been portrayed variously as a precursor of Nietzsche, a forerunner of existentialism, an individualist anarchist, and as manifestly insane. This edition includes an Introduction placing Stirner in his historical context.

    Winner, Washington Post Book World"I am tempted to say he understands [Consilience] better than Wilson himself…A new emancipation proclamation in which he speaks again and again about how to defy the tyranny of scientific materialism" ---Colin C. Campbell, Christian Science Monitor"Berry takes a wrecking ball to E. O. Wilson's Consilience, reducing its smug assumptions regarding the fusion of science, art, and religion to so much rubble. --Kirkus ReviewsIn Life Is a Miracle, the devotion of science to the quantitative and reductionist world is measured against the mysterious, qualitative suggestions of religion and art. Berry sees life as the collision of these separate forces, but without all three in the mix we are left at sea in the world.

    Visionary English Socialist and pioneer of the Arts and Crafts movement, William Morris argued that all work should be a source of pride and satisfaction, and that everyone should be entitled to beautiful surroundings – no matter what their class.

    The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

    From Plato to Christianity, from the Enlightenment to Nietzsche, the Western tradition has been based on arrogant and erroneous beliefs about human beings and their place in the world. Philosophies such as liberalism and Marxism think of humankind as a species whose destiny is to transcend natural limits and conquer the Earth. Even in the present day, despite Darwin's discoveries, nearly all schools of thought take as their starting point the belief that humans are radically different from other animals. John Gray argues that this humanist belief is an illusion. The aim of Straw Dogs is to explore how the world and human life look once humanism has been finally abandoned.Straw Dogs explores philosophical issues such as the nature of the self, free will, morality, progress and the value of truth. Drawing his inspiration from art, poetry, and the frontiers of science as well as philosophy itself, John Gray presents a post-humanist view of the world and of human life. Straw Dogs is an exhilarating, sometimes disturbing book that leads the reader to question their deepest beliefs.

    But although he lived in the German golden age of Goethe, Schiller and Mozart, he also believed that art was in terminal decline.To resolve this apparent paradox, as Michael Inwood explains in his incisive Introduction, we must understand the particular place of aesthetics in Hegel's vast intellectual edifice. Its central pillars consist of logic, philosophy of nature and philosophy of spirit. Art derives its value from offering a sensory vision of the God-like absolute, from its harmonious fusion of form and content, and from summing up the world-view of an age such as Homer's. While it scaled supreme heights in ancient Greece, Hegel doubted art's ability to encompass Christian belief or the reflective irony characteristic of modern societies. Many such challenging ideas are developed in this superb treatise; it counts among the most stimulating works of a master thinker.Table of ContentsIntroductory Lectures on Aesthetics Introduction A Note on the Translation and CommentaryINTRODUCTORY LECTURES ON AESTHETICSChapter I: The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted[α Aesthetic confined to Beauty of Artβ Does Art merit Scientific Treatment?γ Is Scientific Treatment appropriate to Art?δ Answer to βε Answer to γ]Chapter II: Methods of Science Applicable to Beauty and Art[1. Empirical Method - Art-scholarship(a) Its Range(b) It generates Rules and Theories(c) The Rights of Genius2. Abstract Reflection3. The Philosophical Conception of Artistic Beauty, general notion of]Chapter III: The Conception of Artistic BeautyPart I - The Work of Art as Made and as Sensuous1. Work of Art as Product of Human Activity[(a) Conscious Production by Rule(b) Artistic Inspiration(c) Dignity of Production by Man(d) Man's Need to produce Works of Art]2. Work of Art as addressed to Man's Sense[(a) Object of Art - Pleasant Feeling?(b) Feeling of Beauty - Taste(c) Art-scholarship(d) Profounder Consequences of Sensuous Nature of Art(α) Relations of the Sensuous to the Mind(αα) Desire(ββ) Theory(γγ) Sensuous as Symbol of Spiritual(β) The Sensuous Element, how Present in the Artist(γ) The Content of Art Sensuous]Part II - The End of Art3. [The Interest or End of Art(a) Imitation of Nature?(α) Mere Repetition of Nature is -(αα) Superfluous(ββ) Imperfect(γγ) Amusing Merely as Sleight of Hand(β) What is Good to Imitate?(γ) Some Arts cannot be called Imitative(b) Humani nihil - ?(c) Mitigation of the Passions?(α) How Art mitigates the Passions(β) How Art purifies the Passions(αα) It must have a Worthy Content(ββ) But ought not to be Didactic(γγ) Nor explicitly addressed to a Moral Purpose(d) Art has its own Purpose as Revelation of Truth]Chapter IV: Historical Deducation of the True Idea of Art in Modern Philosophy1. Kant[(a) Pleasure in Beauty not Appetitive(b) Pleasure in Beauty Universal(c) The Beautiful in its Teleological Aspect(d) Delight in the Beautiful necessary though felt]2. Schiller, Winckelmann, Schelling3. The IronyChapter V: Division of the Subject[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form2. Part I - The Ideal3. Part II - The Types of Art(α) Symbolic Art(β) Classical Art(γ) Romantic Art4. Part III - The Several Arts(α) Architecture(β) Sculpture(γ) Romantic Art, comprising(i) Painting(ii) Music(iii) Poetry5. Conclusion]Commentary

    The translation adheres closely to the original Japanese, with a clear style and extensive annotations. Book 1 presents translations of twenty-one chapters of Shobogenzo including Genjo-koan (The Realized Universe), Soku-shin-ze-butsu (Mind Here & Now is Buddha), Uji (Existence-Time), and Sansuigyo (The Sutra of Mountains & Water). Its several reference sections include a Chinese/English appendix of references to the Lotus Sutra, and an extensive Sanskrit glossary. 'At last I visited Zen Master Nyojo of Dai-byaku-ho mountain, and there I was able to complete the great task of a lifetime of practice. After that, at the beginning of the great Sung era of Shojo, I came home determined to spread the Dharma and to save living beings, it was as if a heavy burden had been placed on my shoulders....I will leave this record to people who learn in practice and are easy in the truth, so that they can know the right Dharma of the Buddha's lineage. This may be a true mission.'

    HOBSBAWM"Very usefully pulls the key passages from Gramsci's writings into one volume, which allows English-language readers an overall view of his work. Particularly valuable are the connections it draws across his work and the insights which the introduction and glossary provide into the origin and development of some key Gramscian concepts."--Stuart Hall, Professor of Sociology, Open UniversityThe most complete one-volume collection of writings by one of the most fascinating thinkers in the history of Marxism, The Antonio Gramsci Reader fills the need for a broad and general introduction to this major figure.Antonio Gramsci was one of the most important theorists of class, culture, and the state since Karl Marx. In the U.S., where his writings were long unavailable, his stature has lately so increased that every serious student of Marxism, political theory, or modern Italian history must now read him.Imprisoned by the Fascists for much of his adult life, Gramsci wrote brilliantly on a broad range of subjects: from folklore to philosophy, popular culture to political strategy. Still the most comprehensive collection of Gramsci's writings available in English, it now features a new introduction by leading Marxist historian Eric Hobsbawm, in addition to its biographical introduction, informative introductions to each section, and glossary of key terms.

    They cover some of the most pervasive themes of his thought and were written at a time when he had just published his most important—and difficult—book, Otherwise than Being, or Beyond Essence. Both courses pursue issues related to the question at the heart of Levinas's thought: ethical relation. The Foreword and Afterword place the lectures in the context of his work as a whole, rounding out this unique picture of Levinas the thinker and the teacher.The lectures are essential to a full understanding of Levinas for three reasons. First, he seeks to explain his thought to an audience of students, with a clarity and an intensity altogether different from his written work. Second, the themes of God, death, and time are not only crucial for Levinas, but they lead him to confront their treatment by the main philosphers of the great continental tradition. Thus his discussions of accounts of death by Heidegger, Hegel, and Bloch place Levinas's thought in a broader context. Third, the basic concepts Levinas employs are those of Otherwise than Being rather than the earlier Totality and Infinity: patience, obsession, substitution, witness, traumatism. There is a growing recognition that the ultimate standing of Levinas as a philosopher may well depend on his assessment of those terms. These lectures offer an excellent introduction to them that shows how they contribute to a wide range of traditional philosophical issues.