One day you are young, free and single; the next you are bald, fat and washed-up, with weird tendrils of hair growing out of your ears. None of it seems fair. With age should come dignity and respect, but instead everyone makes tired jokes about buying a motorbike. Marcus Berkmann isn't having it. Having marked his fiftieth birthday by hiding under the duvet for six weeks, the author of the cricket classics Rain Men and Zimmer Men is now determined to find some light in the all-consuming darkness. Musing over birth, death and all the messy stuff in between, he concludes that however dreadful you look in the mirror today, it will be much worse in ten years' time. His brutally candid despatch from the frontline is not for the faint-hearted, which is to say anyone under thirty-five.

    That day, the German army used a chlorine gas meant to exterminate indiscriminately. Until then, war, as described by Clausewitz and practiced by Napoleon, involved attacking the adversary’s vital function first. Using poison gas signaled the passage from classical war to terrorism. This terror from the air inaugurated an era in which the main idea was no longer to target the enemy’s body, but their environment. From then on, what would be attacked in wartime as well as in peacetime would be the very conditions necessary for life.This kind of terrorism became the matrix of modern and postmodern war, from World War I’s toxic gas to the Nazi Zyklon B used in Auschwitz, from the bombing of Dresden to the attack on the World Trade Center. Sloterdijk goes on to describe the offensive of modern aesthetics, aesthetic terrorism from Surrealism to Malevich--an “atmo-terrorism” in the arts that parallels the assault on environment that had originated in warfare.

    Overheating offers a groundbreaking new way of looking at the problems of the Anthropocene, exploring crises of the environment, economy, and identity through an anthropological lens. Thomas Hylland Eriksen argues that while each of these crises is global in scope, they are nonetheless perceived and responded to locally—and that once we realize that, we begin to see the contradictions that abound between the standardizing forces of global capitalism and the socially embedded nature of people and local practices. Only by acknowledging the primacy of the local, Eriksen shows, can we begin to even properly understand, let alone address, these problems on a global scale.

    Blessed with an unerring eye, he tackles a myriad of subjects with wit, poetry, and perspicacity, examining and questioning the art before him while reveling in the power and beauty of language. His writing springs from a desire to be understood by all readers, and a determination to help them engage with art of every kind.Covering subjects drawn from a broad canvas of the history of art—from ancient Greece, Mexico, and Byzantium, through Raphael, Rubens, and Rembrandt, to Bruce Nauman, Jean-Michel Basquiat, and John Currin—the writings collected here seek out with precision and economy the essence of the individual artist or work under discussion, but they never lose sight of the bigger picture: What is beauty? What does it mean to be an American artist? What can the art we produce and admire tell us about ourselves?With an imaginative introduction—twenty questions, each one posed to Schjeldahl by a different artist or writer—this collection will appeal to anyone who considers the experience of art, and of writing on art, an invitation to a voyage.Coverage includes:     • large-scale exhibitions at leading institutions around the world     • shows at private galleries     • profiles of prominent members of the art world     • personal accounts of time spent with artists     • the influences of museum spaces on our experience of art

    His skill as a reviewer is particularly notable: never content merely to assess the ideas of a writer and the theses of a book, Eagleton, in his inimitable and often wickedly funny style, always paints a vivid theoretical and political fresco as the background to his engagement with the texts.In this collection of more than a decade of such bracing criticism, Eagleton comes face to face with Stanley Fish, Gayatri Spivak, Slavoj Žižek, Edward Said, and even David Beckham. All are subjected to his pugnacious wit, scathing critical pen, and brilliant literary investigations.

    It has been reprinted in Ideas and Opinions, Crown Publishers, Inc. 1954, pp 36 - 40. It also appears in Einstein's book The World as I See It, Philosophical Library, New York, 1949, pp. 24 - 28.Everything that the human race has done and thought is concerned with the satisfaction of deeply felt needs and the assuagement of pain. One has to keep this constantly in mind if one wishes to understand spiritual movements and their development. Feeling and longing are the motive force behind all human endeavor and human creation, in however exalted a guise the latter may present themselves to us. Now what are the feelings and needs that have led men to religious thought and belief in the widest sense of the words? A little consideration will suffice to show us that the most varying emotions preside over the birth of religious thought and experience. With primitive man it is above all fear that evokes religious notions - fear of hunger, wild beasts, sickness, death. Since at this stage of existence understanding of causal connections is usually poorly developed, the human mind creates illusory beings more or less analogous to itself on whose wills and actions these fearful happenings depend. Thus one tries to secure the favor of these beings by carrying out actions and offering sacrifices which, according to the tradition handed down from generation to generation, propitiate them or make them well disposed toward a mortal. In this sense I am speaking of a religion of fear. This, though not created, is in an important degree stabilized by the formation of a special priestly caste which sets itself up as a mediator between the people and the beings they fear, and erects a hegemony on this basis. In many cases a leader or ruler or a privileged class whose position rests on other factors combines priestly functions with its secular authority in order to make the latter more secure; or the political rulers and the priestly caste make common cause in their own interests.

    From Little Britain’s Vicky Pollard to the demonization of Jade Goody, media and politicians alike dismiss as feckless, criminalized and ignorant a vast, underprivileged swathe of society whose members have become stereotyped by one, hate-filled word: chavs. In this groundbreaking investigation, Owen Jones explores how the working class has gone from “salt of the earth” to “scum of the earth.” Exposing the ignorance and prejudice at the heart of the chav caricature, one based on the media’s inexhaustible obsession with an indigent white underclass, he portrays a far more complex reality. Moving through Westminster’s lobbies and working-class communities from Dagenham to Dewsbury Moor, Jones reveals the increasing poverty and desperation of communities made precarious by wrenching social and industrial change, and all but abandoned by the aspirational, society-fragmenting policies of Thatcherism and New Labour. The chav stereotype, he argues, is used by governments as a convenient figleaf to avoid genuine engagement with social and economic problems, and to justify widening inequality. Based on a wealth of original research, and wide-ranging interviews with media figures, political opinion-formers and workers, Chavs is a damning indictment of the media and political establishment, and an illuminating, disturbing portrait of inequality and class hatred in modern Britain.

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    "Empowerment," writes  best-selling Jungian analyst James Hillman,  "comes from understanding the widest spectrum of  possibilities for embracing power." If food  means only meat and potatoes, your body suffers from  your ignorance. When your idea of food expands, so  does your strength. So it is with power.  "James Hillman," says Robert Bly, "is the  most lively and original psychologist we have had  in America since William James." In  Kinds Of Power, Hillman addresses  himself for the first time to a subject of great  interest to business people. He gives much needed  substance to the subject by showing us a broad  experience of power, rooted in the body, the rnind, and the  emotions, rather than the customary narrow  interpretation that simply equates power with strength.  Hillman's "anatomy" of power explores  two dozen expressions of power every artful leader  must understand and use, including: the language of  power, control, influence, resistance, leadership,  prestige, authority, exhibitionism, charisma,  ambition, reputation, fearsomeness, tyranny, purism,  subtle power, growth, and efficiency.From the Hardcover edition.

    The book begins with a framework elucidating the transactions between individual development and the child's wider environment, and emphasizing the crucial role of attachment. Key developmental processes and tasks from infancy through middle childhood are then discussed in paired chapters that respectively address how children of different ages typically feel, think, and behave, and how to intervene effectively with those who are having difficulties.

    

    Studied on most undergraduate literary and cultural studies courses, Sigmund Freud takes a fresh look at the work of this groundbreaking theorist, offering students a clear introduction to Freud's importance for psychoanalytic literary criticism, while tracing the scientific and cultural contexts from which he emerged. This book guides readers through Freud's terminology and key ideas and includes a detailed bibliography of his own and other relevant texts.

    Cela sera pour nous une attitude intérieure, mieux : une vigilance, ou mieux encore, une sorte d'enveloppe mentale au mitan de laquelle se bâtira notre monde en pleine conscience du monde.» Publié en 1989, cet éloge de l'identité créole, cette quête lyrique «d'une pensée plus fertile, d'une expression plus juste, d'une esthétique plus vraie», fonde un art poétique qui devait très vite, dans une illustration magnifique, donner des œuvres importantes : Raphaël Confiant a reçu le prix Novembre pour Eau de Café (1991), Patrick Chamoiseau le prix Goncourt pour Texaco (1992). "Neither Europeans, nor Africans, nor Asians, we proclaim ourselves to be Creoles. For us this will be a state of mind, or, rather, a state of vigilance, or, better still, a sort of mental envelope within which we will build our world, in full awareness of the world." Published in 1989, this hymn to the Creole identity, this lyrical quest "for a more fertile way of thinking, for a more accurate means of expression, and for a more genuine aesthetics", laid the foundations of a poetic art that was very quickly, and brilliantly, to produce major works : Raphaël Confiant was awarded the prix Novembre for Eau de Café (1991), and Patrick Chamoiseau received the prix Goncourt for Tewaco (1992).

    Originally published in the same year as his monumental Work on Myth, Shipwreck with Spectator traces the evolution of the complex of metaphors related to the sea, to shipwreck, and to the role of the spectator in human culture from ancient Greece to modern times. The sea is one of humanity's oldest metaphors for life, and a sea journey, Blumenberg observes, has often stood for our journey through life. We all know the role that shipwrecks can play in this journey, and at some level we have all played witness to others' wrecks, standing in safety and knowing that there is nothing we can do to help, yet fixed comfortably or uncomfortably in our ambiguous role as spectator. Through Blumenberg's seemingly inexhaustible knowledge of letters, from ancient texts through nineteenth-century reminiscences and modern speeches, we see layer upon layer revealed in the meaning humans have given to these metaphors; and in this way we begin to understand what metaphors can do that more straightforward modes of expression cannot. This edition of Shipwreck with Spectator also includes "Prospect for a Theory of Nonconceptuality," an essay that recounts the evolution of Blumenberg's ideas about metaphorology in the years following his early manifesto "Paradigms for a Metaphorology."

    A fascinating collection of six essays, written for the William Empson Lectures in Oxford, each exploring an aspect of writerly contemplation.