Religion. Race. Nationality. Class. Culture. Such affiliations give contours to our sense of self, and shape our polarized world. Yet the collective identities they spawn are riddled with contradictions, and cratered with falsehoods.Kwame Anthony Appiah’s "The Lies That Bind" is an incandescent exploration of the nature and history of the identities that define us. It challenges our assumptions about how identities work. We all know there are conflicts between identities, but Appiah shows how identities are created by conflict. Religion, he demonstrates, gains power because it isn’t primarily about belief. Our everyday notions of race are the detritus of discarded nineteenth-century science. Our cherished concept of the sovereign nation―of self-rule―is incoherent and unstable. Class systems can become entrenched by efforts to reform them. Even the very idea of Western culture is a shimmering mirage.From Anton Wilhelm Amo, the eighteenth-century African child who miraculously became an eminent European philosopher before retiring back to Africa, to Italo Svevo, the literary marvel who changed citizenship without leaving home, to Appiah’s own father, Joseph, an anticolonial firebrand who was ready to give his life for a nation that did not yet exist, Appiah interweaves keen-edged argument with vibrant narratives to expose the myths behind our collective identities.These “mistaken identities,” Appiah explains, can fuel some of our worst atrocities―from chattel slavery to genocide. And yet, he argues that social identities aren’t something we can simply do away with. They can usher in moral progress and bring significance to our lives by connecting the small scale of our daily existence with larger movements, causes, and concerns.Elaborating a bold and clarifying new theory of identity, "The Lies That Bind" is a ringing philosophical statement for the anxious, conflict-ridden twenty-first century. This book will transform the way we think about who―and what―“we” are.

    Juxtaposing theology and science, poetry and mysticism, Eco explores the relationship that existed between the aesthetic theories and the artistic experience and practice of medieval culture.  “[A] delightful study. . . . [Eco’s] remarkably lucid and readable essay is full of contemporary relevance and informed by the energies of a man in love with his subject.” —Robert Taylor, Boston Globe “The book lays out so many exciting ideas and interesting facts that readers will find it gripping.” —Washington Post Book World  “A lively introduction to the subject.” —Michael Camille, The Burlington Magazine “If you want to become acquainted with medieval aesthetics, you will not find a more scrupulously researched, better written (or better translated), intelligent and illuminating introduction than Eco’s short volume.” —D. C. Barrett, Art Monthly

    Svenonius’s cult-classic debut essay collection, including brand-new writing in this expanded edition.A new, expanded collection of essays and articles from one of the mainstays of the Washington, DC, underground rock and roll scene, The Psychic Soviet is Ian F. Svenonius’s groundbreaking first book of writings. The selections are written in a lettered yet engaging style, filled with parody and biting humor that subvert capitalist culture, and cover such topics as the ascent of the DJ as a star, the “cosmic depression” that followed the defeat of the USSR, how Seinfeld caused the bankruptcy of modern pop culture, and the status of rock and roll as a religion. The pocket-sized book is bound with a durable bright-pink plastic cover, recalling the aesthetics of Mao’s Little Red Book, and perfect for carrying into the fray of street battle, classroom, or lunch-counter argument.

    There is no more proper instrument of analysis of our contemporary myths than this book—one of the most significant works in French theory, and one that has transformed the way readers and philosophers view the world around them.Our age is a triumph of codification. We own devices that bring the world to the command of our fingertips. We have access to boundless information and prodigious quantities of stuff. We decide to like or not, to believe or not, to buy or not. We pick and choose. We think we are free. Yet all around us, in pop culture, politics, mainstream media, and advertising, there are codes and symbols that govern our choices. They are the fabrications of consumer society. They express myths of success, well-being, and happiness. As Barthes sees it, these myths must be carefully deciphered, and debunked.What Barthes discerned in mass media, the fashion of plastic, and the politics of postcolonial France applies with equal force to today's social networks, the iPhone, and the images of 9/11. This new edition of Mythologies, complete and beautifully rendered by the Pulitzer Prize–winning poet, critic, and translator Richard Howard, is a consecration of Barthes's classic—a lesson in clairvoyance that is more relevant now than ever.

    A truly landmark study, The Hour of Our Death reveals a pattern of gradually developing evolutionary stages in our perceptions of life in relation to death, each stage representing a virtual redefinition of human nature. Starting at the very foundations of Western culture, the eminent historian Phillipe Aries shows how, from Graeco-Roman times through the first ten centuries of the Common Era, death was too common to be frightening; each life was quietly subordinated to the community, which paid its respects and then moved on. Aries identifies the first major shift in attitude with the turn of the eleventh century when a sense of individuality began to rise and with it, profound consequences: death no longer meant merely the weakening of community, but rather the destruction of self. Hence the growing fear of the afterlife, new conceptions of the Last Judgment, and the first attempts (by Masses and other rituals) to guarantee a better life in the next world. In the 1500s attention shifted from the demise of the self to that of the loved one (as family supplants community), and by the nineteenth century death comes to be viewed as simply a staging post toward reunion in the hereafter. Finally, Aries shows why death has become such an unendurable truth in our own century--how it has been nearly banished from our daily lives--and points out what may be done to re-tame this secret terror. The richness of Aries's source material and investigative work is breathtaking. While exploring everything from churches, religious rituals, and graveyards (with their often macabre headstones and monuments), to wills and testaments, love letters, literature, paintings, diaries, town plans, crime and sanitation reports, and grave robbing complaints, Aries ranges across Europe to Russia on the one hand and to England and America on the other. As he sorts out the tangled mysteries of our accumulated terrors and beliefs, we come to understand the history--indeed the pathology--of our intellectual and psychological tensions in the face of death.

    A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics.A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There he wrote "Mimesis," publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how from antiquity to the twentieth century literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive--and impassioned--response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours. For many readers, both inside and outside the academy, "Mimesis" is among the finest works of literary criticism ever written.

    Even in the age of railways and newspapers, France was a land of ancient tribal divisions, prehistoric communication networks, and pre-Christian beliefs. French itself was a minority language.Graham Robb describes that unknown world in arresting narrative detail. He recounts the epic journeys of mapmakers, scientists, soldiers, administrators, and intrepid tourists, of itinerant workers, pilgrims, and herdsmen with their millions of migratory domestic animals. We learn how France was explored, charted, and colonized, and how the imperial influence of Paris was gradually extended throughout a kingdom of isolated towns and villages.The Discovery of France explains how the modern nation came to be and how poorly understood that nation still is today. Above all, it shows how much of France—past and present—remains to be discovered.

    Culture and Imperialism, by Edward Said, is a collection of thematically related essays that trace the connection between imperialism and culture throughout the 18th, 19th, and 20th centuries.

    The twentieth century has become "history" at an unprecedented rate. The world of 2007 is so utterly unlike that of even 1987, much less any earlier time, that we have lost touch with our immediate past even before we have begun to make sense of it. In less than a generation, the headlong advance of globalization, with the geographical shifts of emphasis and influence it brings in its wake, has altered the structures of thought that had been essentially unchanged since the European industrial revolution. Quite literally, we don't know where we came from. The results have proved calamitous thus far, with the prospect of far worse. We have lost touch with a century of social thought and socially motivated social activism. We no longer know how to discuss such concepts and have forgotten the role once played by intellectuals in debating, transmitting, and defending the ideas that shaped their time. In Reappraisals, Tony Judt resurrects the key aspects of the world we have lost in order to remind us how important they still are to us now and to our hopes for the future. Reappraisals draws provocative connections between a dazzling range of subjects, from the history of the neglect and recovery of the Holocaust and the challenge of "evil" in the understanding of the European past to the rise and fall of the "state" in public affairs and the displacement of history by "heritage." With his trademark acuity and Žlan, Tony Judt takes us beyond what we think we know to show us how we came to know it and reveals how many aspects of our history have been sacrificed in the triumph of mythmaking over understanding, collective identity over truth, and denial over memory. His book is a road map back to the historical sense we so vitally need.

    In this brilliant study (his best-known and most controversial), he opposes the Marxist concept of dialectical materialism and its view that change takes place through "the struggle of opposites." Instead, he relates the rise of a capitalist economy to the Puritan determination to work out anxiety over salvation or damnation by performing good deeds — an effort that ultimately discouraged belief in predestination and encouraged capitalism. Weber's classic study has long been required reading in college and advanced high school social studies classrooms.

    Nowhere else did science and democracy arise; nowhere else was slavery outlawed. Only Westerners invented chimneys, musical scores, telescopes, eyeglasses, pianos, electric lights, aspirin, and soap.The question is, Why? Unfortunately, that question has become so politically incorrect that most scholars avoid it. But acclaimed author Rodney Starkprovides the answers in this sweeping new look at Western civilization. How the West Won demonstrates the primacy of uniquely Western ideas—among them the belief in free will, the commitment to the pursuit of knowledge, the notion that the universe functions according to rational rules that can be dis­covered, and the emphasis on human freedom and secure property rights.Taking readers on a thrilling journey from ancient Greece to the present, Stark challenges much of the received wisdom about Western his­tory. How the West Won shows, for example:• Why the fall of Rome was the single most beneficial event in the rise of Western civilization • Why the “Dark Ages” never happened • Why the Crusades had nothing to do with grabbing loot or attacking the Muslim world unprovoked • Why there was no “Scientific Revolution” in the seventeenth century • Why scholars’ recent efforts to dismiss the importance of battles are ridiculous: had the Greeks lost at the Battle of Marathon, we probably would never have heard of Plato or Aristotle Stark also debunks absurd fabrications that have flourished in the past few decades: that the Greeks stole their culture from Africa; that the West’s “discoveries” were copied from the Chinese and Muslims; that Europe became rich by plundering the non-Western world. At the same time, he reveals the woeful inadequacy of recent attempts to attribute the rise of the West to purely material causes—favorable climates, abundant natural resources, guns and steel. How the West Won displays Rodney Stark’s gifts for lively narrative history and making the latest scholarship accessible to all readers. This bold, insightful book will force you to rethink your understanding of the West and the birth of modernity—and to recognize that Western civilization really has set itself apart from other cultures.

    It is out of this background that the great critic Theodor Adorno emerged. His finest essays are collected here, offering the reader unparalleled insights into Adorno's thoughts on culture. He argued that the culture industry commodified and standardized all art. In turn this suffocated individuality and destroyed critical thinking. At the time, Adorno was accused of everything from overreaction to deranged hysteria by his many detractors. In today's world, where even the least cynical of consumers is aware of the influence of the media, Adorno's work takes on a more immediate significance. The Culture Industry is an unrivalled indictment of the banality of mass culture.

    Hebdige [...] is concerned with the UK's postwar, music-centred, white working-class subcultures, from teddy boys to mods and rockers to skinheads and punks.' - Rolling StoneWith enviable precision and wit Hebdige has addressed himself to a complex topic - the meanings behind the fashionable exteriors of working-class youth subcultures - approaching them with a sophisticated theoretical apparatus that combines semiotics, the sociology of devience and Marxism and come up with a very stimulating short book - Time OutThis book is an attempt to subject the various youth-protest movements of Britain in the last 15 years to the sort of Marxist, structuralist, semiotic analytical techniques propagated by, above all, Roland Barthes. The book is recommended whole-heartedly to anyone who would like fresh ideas about some of the most stimulating music of the rock era - The New York Times

    Has the 21st century resolved the question of postmodernism or are we more than ever ensnared in its perplexities? Postmodernism seemed to promise an end to the grim Cold War era of nuclear confrontation and oppressive ideologies. Fukuyama's notoriously proclaimed end of history, the triumph of liberal democracy over Communist tyranny, has proved an illusion. We awoke in the anxious grip of globalization, unpredictable terrorism and unforeseen war. Introducing Postmodernism traces the pedigrees of postmodernism in art, theory, science and history, providing an urgent guide to the present. Derrida, Baudrillard, Foucault and many other icons of postmodern complexity are brilliantly elucidated by Richard Appignanesi and enlivened by the Guardian's Biff cartoonist Chris Garratt.

    A published version has been keenly awaited ever since the lectures were given, and Berlin had always hoped to complete a book based on them. But despite extensive further work this hope was not fulfilled, and the present volume is an edited transcript of his spoken words.For Berlin, the Romantics set in motion a vast, unparalleled revolution in humanity's view of itself. They destroyed the traditional notions of objective truth and validity in ethics with incalculable, all-pervasive results. As he said of the Romantics elsewhere: The world has never been the same since, and our politics and morals have been deeply transformed by them. Certainly this has been the most radical, and indeed dramatic, not to say terrifying, change in men's outlook in modern times.In these brilliant lectures Berlin surveys the myriad attempts to define Romanticism, distills its essence, traces its developments from its first stirrings to its apotheosis, and shows how its lasting legacy permeates our own outlook. Combining the freshness and immediacy of the spoken word with Berlin's inimitable eloquence and wit, the lectures range over a cast of the greatest thinkers and artists of the eighteenth and nineteenth centuries, including Kant, Rousseau, Diderot, Schiller, Schlegel, Novalis, Goethe, Blake, Byron, and Beethoven. Berlin argues that the ideas and attitudes held by these and other figures helped to shape twentieth-century nationalism, existentialism, democracy, totalitarianism, and our ideas about heroic individuals, individual self-fulfillment, and the exalted place of art. This is the record of an intellectual bravura performance--of one of the century's most influential philosophers dissecting and assessing a movement that changed the course of history.