Linguistics. Originally appearing in 1977 and now in its 11th printing, THE NEW SENTENCE by Ron Silliman is a classic collection of essays by one of the sharpest minds in American contemporary poetic thought. It is a collection with rich insight into Silliman's own monumental poetical work and the writing of his peers, a book which both illuminates the concerns of the era in which it was written and radiates outward with a tremendous scope that continues to bear fruit for the contemporary reader. Ron Silliman is a terrific prose critic...positively bristles with intellectual and political energy of a very high order -Bruce Boone.

    Bollingen Series XXEssays which state the fundamentals of Jung's psychological system: "On the Psychology of the Unconscious" & "The Relations Between the Ego & the Unconscious," with their original versions in an appendix.

    In essays that show how her groundbreaking work in queer theory has developed into a deep interest in affect, Sedgwick offers what she calls "tools and techniques for nondualistic thought," in the process touching and transforming such theoretical discourses as psychoanalysis, speech-act theory, Western Buddhism, and the Foucauldian "hermeneutics of suspicion." In prose sometimes somber, often high-spirited, and always accessible and moving, Touching Feeling interrogates—through virtuoso readings of works by Henry James, J. L. Austin, Judith Butler, the psychologist Silvan Tomkins and others—emotion in many forms. What links the work of teaching to the experience of illness? How can shame become an engine for queer politics, performance, and pleasure? Is sexuality more like an affect or a drive? Is paranoia the only realistic epistemology for modern intellectuals? Ultimately, Sedgwick's unfashionable commitment to the truth of happiness propels a book as open-hearted as it is intellectually daring.

    Illustrated throughout with photographs from Joseph Campbell's family archive and with a new, revised introduction, The Hero's Journey introduces the reader first-hand to Joseph Campbell the man, his discoveries, his terminology, and his thinking.

    a hire-wire juxtaposition of far-left political theory and pop culture, held together by the force of [Žižek’s] rumpled charm.” —BuzzFeedAs we emerge (though perhaps only temporarily) from the pandemic, other crises move center stage: outrageous inequality, climate disaster, desperate refugees, mounting tensions of a new cold war. The abiding motif of our time is relentless chaos.Acknowledging the possibilities for new beginnings at such moments, Mao Zedong famously proclaimed “There is great disorder under heaven; the situation is excellent.” The contemporary relevance of Mao’s observation depends on whether today’s catastrophes can be a catalyst for progress or have passed over into something terrible and irretrievable. Perhaps the disorder is no longer under, but in heaven itself.Characteristically rich in paradoxes and reversals that entertain as well as illuminate, Slavoj Žižek’s new book treats with equal analytical depth the lessons of Rammstein and Corbyn, Morales and Orwell, Lenin and Christ. It excavates universal truths from local political sites across Palestine and Chile, France and Kurdistan, and beyond.Heaven In Disorder looks with fervid dispassion at the fracturing of the Left, the empty promises of liberal democracy, and the tepid compromises offered by the powerful. From the ashes of these failures, Žižek asserts the need for international solidarity, economic transformation, and—above all—an urgent, “wartime” communism.

    "Fascism is only the organized political expression of the structure of the average man's character. It is the basic emotional civilization and its mechanistic-mystical conception of life."Responsibility for the elimination of fascism thus results with the masses of average people who might otherwise support and champion it.

    Yet the ways in which we live sexuality and intimacy have been profoundly shaped by theories — especially psychoanalytic ones, which have helped to place sexuality and desire at the center of the modern story about what a person is and how her history should be read. At the same time, other modes of explanation have been offered by popular and mass culture. In these domains, sexual desire is not deemed the core story of life; it is mixed up with romance, a particular version of the story of love.In this small theoretical novella-cum-dictionary entry, Lauren Berlant engages love and desire in separate entries. In the first entry, Desire mainly describes the feeling one person has for something else: it is organized by psychoanalytic accounts of attachment, and tells briefly the history of their importance in critical theory and practice. The second entry, on Love, begins with an excursion into fantasy, moving away from the parent-child structure so central to psychoanalysis and looking instead at the centrality of context, environment, and history. The entry on Love describes some workings of romance across personal life and commodity culture, the place where subjects start to think about fantasy on behalf of their actual lives.Whether viewed psychoanalytically, institutionally, or ideologically, love is deemed always an outcome of fantasy. Without fantasy, there would be no love. Desire/Love takes us on a tour of all of the things that sentence might mean.

    A vital counter-interpretation of madness in women, showing how it is often a consequence of, rather than a deviation from, the traditional female role.

    The title essay, which is in essence a presentation of the underlying thesis of his The Primacy of Perception, is followed by two courses given by Merleau-Ponty at the Sorbonne on phenomenological psychology. "Eye and Mind" and the concluding chapters present applications of Merleau-Ponty's ideas to the realms of art, philosophy of history, and politics. Taken together, the studies in this volume provide a systematic introduction to the major themes of Merleau-Ponty's philosophy.

    His is a journey marked by the questioning of experience itself, until what is reached is sovereign laughter, non-knowledge, and a Presence in no way distinct from Absence, where "The mind moves in a strange world where anguish and ecstasy coexist."

    

    This tendency can be found in practices and projects ranging from El Lissitzky's exhibition designs to Allan Kaprow's happenings, from minimalist objects to installation art. More recently, this kind of participatory art has gone so far as to encourage and produce new social relationships. Guy Debord's celebrated argument that capitalism fragments the social bond has become the premise for much relational art seeking to challenge and provide alternatives to the discontents of contemporary life. This publication collects texts that place this artistic development in historical and theoretical context.Participation begins with writings that provide a theoretical framework for relational art, with essays by Umberto Eco, Bertolt Brecht, Roland Barthes, Peter B�rger, Jen-Luc Nancy, Edoaurd Glissant, and F�lix Guattari, as well as the first translation into English of Jacques Ranci�re's influential Problems and Transformations in Critical Art. The book also includes central writings by such artists as Lygia Clark and H�lio Oiticica, Joseph Beuys, Augusto Boal, Felix Gonzalez-Torres, Thomas Hirschhorn, and Rirkrit Tiravanija. And it features recent critical and curatorial debates, with discussions by Lars Bang Larsen, Nicolas Bourriaud, Hal Foster, and Hans-Ulrich Obrist.Copublished with Whitechapel Art Gallery, London

    Breathtaking in its range and erudition, it explores Shiite festivals and the English Civil war, the finger exercises of monkeys and the effects of inflation in Weimar Germany. In this study of the interplay of crowds, Canetti offers one of the most profound and startling portraits of the human condition.

    Literary Criticism. The two discussions in WHAT WE SHOULD HAVE KNOWN took place at the offices of n+1 in the summer of 2007. Eleven n+1 editors and contributors--including Caleb Crain, Meghan Falvey, Mark Greif, and Ilya Bernstein--met to talk frankly about regrets they have (or don't have) about college--what they wish they had read or had not read, listened to or not listened to, thought or not thought, been or not been. The idea for the discussions was prompted by a desire to give college students a directed guide, of some sort, to the world of literature, philosophy, and thought that they might not otherwise receive from the current highly specialized university environment. They were also an attempt to answer the "canon"-based approach to college study in two ways: by identifying canonical books produced by our contemporaries or near-contemporaries--something conservative writers have always refused to do--and, second, by articulating a better reason to read the best books ever written than that they authorize and underwrite a system of brutal economic competition and inequality.

    Written in 1954 and revised in 1962, Mental Illness and Psychology delineates the shift that occurred in Foucault's thought during this period. The first iteration reflects the philosopher's early interest in and respect for Freud and the psychoanalytic tradition. The second part, rewritten in 1962, marks a dramatic change in Foucault's thinking. Examining the history of madness as a social and cultural construct, he moves outside of the psychoanalytic tradition into the radical critique of Freud that was to dominate his later work. Mental Illness and Psychology is an important document tracing the intellectual evolution of this influential thinker. A foreword by Foucault scholar Hubert Dreyfus situates the book within the framework of Foucault's entire body of work.