Nowhere else is the man and musician so convincingly deconstructed and so compellingly humanized.

    This vision was, of course, the product of his character and his experience. Beethoven the man and Beethoven the composer are not two unconnected entities, and the known history of the man may be used to throw light upon the character of his music."Clifton Fadiman has said of this classic study:"It is the most interesting book on music that I have ever read and it is not written for musical experts; rather for people like myself who like to listen to music but can boast no special knowledge of it. It deals not only with music, on which I do not speak with authority, but with human life in general, about which you and I speak with authority every day of our lives."

    In chapters on the penis (in all its incarnations), fifties Hollywood, male beauty standards, and sexual harassment, and in discussions of topics ranging from Marlon Brando and Boogie Nights to Philip Roth and Lady Chatterley's Lover, Bordo offers fresh and unexpected insights. Always--whether she is examining Michael Jordan or Humbert Humbert, the butch phallus or her own grade-school experiences--she rejects rigid categories in favor of an honest, nuanced version of men as flesh-and-blood human beings.

    In its scope and itnerest it can be compared with Freud's Totem and Taboo, the subtext Girard refutes with polemic daring, vast erudition, and a persuasiveness that leaves the reader compelled to respond, one way or another.This is the single fullest summation of Girard's ideas to date, the book by which they will stand or fall. In a dialogue with two psychiatrists (Jean-Michel Oughourlian and Guy Lefort), Girard probes an encyclopedic array of topics, ranging across the entire spectrum of anthropology, psychoanalysis, and cultural production.Girard's point of departure is what he calles "mimesis," the conflict that arises when human rivals compete to differentiate themselves from each other, yet succeed only in becoming more and more alike. At certain points in the life of a society, according to Girard, this mimetic conflict erupts into a crisis in which all difference dissolves in indiscriminate violence. In primitive societies, such crises were resolved by the "scapegoating mechanism," in which the community, en masse, turned on an unpremeditated victim. The repression of this collective murder and its repetition in ritual sacrifice then formed the foundations of both religion and the restored social order.How does Christianity, at once the most "sacrificial" of religions and a faith with a non-violent ideology, fit into this scheme? Girard grants Freud's point, in Totem and Taboo, that Christianity is similar to primitive religion, but only to refute Freud—if Christ is sacrificed, Girard argues, it is not becuase God willed it, but because human beings wanted it.The book is not merely, or perhaps not mainly, biblical exegesis, for within its scope fall some of the most vexing problems of social history—the paradox that violence has social efficacy, the function of the scapegoat, the mechanism of anti-semitism.

    Patel challenges the widespread belief that music and language are processed independently. Since Plato's time, the relationship between music and language has attracted interest and debate from a wide range of thinkers. Recently, scientific research on this topic has been growing rapidly, as scholars from diverse disciplines, including linguistics, cognitive science, music cognition, and neuroscience are drawn to the music-language interface as one way to explore the extent to which different mental abilities are processed by separate brain mechanisms. Accordingly, the relevant data and theories have been spread across a range of disciplines. This volume provides the first synthesis, arguing that music and language share deep and critical connections, and that comparative research provides a powerful way to study the cognitive and neural mechanisms underlying these uniquely human abilities.Winner of the 2008 ASCAP Deems Taylor Award.

    Never before have the cultural powers- that-be been able to exert such control over what we can and can't do with the culture around us. Our society defends free markets and free speech; why then does it permit such top-down control? To lose our long tradition of free culture, Lawrence Lessig shows us, is to lose our freedom to create, our freedom to build, and, ultimately, our freedom to imagine.

    Negroponte's fans will want to get a copy of Being Digital, which is an edited version of the 18 articles he wrote for Wired about "being digital." Negroponte's text is mostly a history of media technology rather than a set of predictions for future technologies. In the beginning, he describes the evolution of CD-ROMs, multimedia, hypermedia, HDTV (high-definition television), and more. The section on interfaces is informative, offering an up-to-date history on visual interfaces, graphics, virtual reality (VR), holograms, teleconferencing hardware, the mouse and touch-sensitive interfaces, and speech recognition. In the last chapter and the epilogue, Negroponte offers visionary insight on what "being digital" means for our future. Negroponte praises computers for their educational value but recognizes certain dangers of technological advances, such as increased software and data piracy and huge shifts in our job market that will require workers to transfer their skills to the digital medium. Overall, Being Digital provides an informative history of the rise of technology and some interesting predictions for its future.

    Even as the decline of the reading of literature, as argued by the National Endowment for the Arts, proceeds in our culture, Garber ( One of the most powerful women in the academic world "The New York Times") gives us a deep and engaging meditation on the usefulness and uselessness of literature in the digital age. What is literature, anyway? How has it been understood over time, and what is its relevance for us today? Who are its gatekeepers? Is its canonicity fixed? Why has literature been on the defensive since Plato? Does it have any use at all, or does it merely serve as an aristocratic or bourgeois accoutrement attesting to worldly sophistication and refinement of spirit? Is it, as most of us assume, good to read literature, much less study it and what does either mean?"""The Use and Abuse of Literature" is a tour de force about our culture in crisis that is extraordinary for its brio, panache, and erudition (and appreciation of popular culture) lightly carried. Garber s winning aim is to reclaim literature from the margins of our personal, educational, and professional lives and restore it to the center, as a fierce, radical way of thinking."

    punk scene—and includes fifty rare photos.Picking up where Under the Big Black Sun left off, More Fun in the New World explores the years 1982 to 1987, covering the dizzying pinnacle of L.A.'s punk rock movement as its stars took to the national—and often international—stage. Detailing the eventual splintering of punk into various sub-genres, the second volume of John Doe and Tom DeSavia's west coast punk history portrays the rich cultural diversity of the movement and its characters, the legacy of the scene, how it affected other art forms, and ultimately influenced mainstream pop culture. The book also pays tribute to many of the fallen soldiers of punk rock, the pioneers who left the world much too early but whose influence hasn't faded.As with Under the Big Black Sun, the book features stories of triumph, failure, stardom, addiction, recovery, and loss as told by the people who were influential in the scene, with a cohesive narrative from authors Doe and DeSavia. Along with many returning voices, More Fun in the New World weaves in the perspectives of musicians Henry Rollins, Fishbone, Billy Zoom, Mike Ness, Jane Weidlin, Keith Morris, Dave Alvin, Louis Pérez, Charlotte Caffey, Peter Case, Chip Kinman, Maria McKee, and Jack Grisham, among others. And renowned artist/illustrator Shepard Fairey, filmmaker Allison Anders, actor Tim Robbins, and pro-skater Tony Hawk each contribute chapters on punk's indelible influence on the artistic spirit.In addition to stories of success, the book also offers a cautionary tale of an art movement that directly inspired commercially diverse acts such as Green Day, Rancid, Red Hot Chili Peppers, Wilco, and Neko Case. Readers will find themselves rooting for the purists of punk juxtaposed with the MTV-dominating rock superstars of the time who flaunted a "born to do this, it couldn't be easier" attitude that continued to fuel the flames of new music. More Fun in the New World follows the progression of the first decade of L.A. punk, its conclusion, and its cultural rebirth.

    Hayek's book, first published in 1960, urges us to clarify our beliefs in today's struggle of political ideologies.

    Written in 1828, in the last months of the young Schubert's life, 'Winterreise' ("Winter's Journey"), has come to be considered the single greatest piece of music ever written for the male solo voice. Deceptively brief - the twenty-four short poems are performed uninterrupted in 70 minutes - it nonetheless has an emotional depth and power that no music of its kind has ever equalled. Originally intended to be sung to an intimate gathering, performances of 'Winterreise' now pack the greatest concert halls around the world. Drawing on his firsthand experience with this work (he has performed it more than one hundred times), on his musical knowledge, and on his training as a scholar, Ian Bostridge teases out the enigmas and subtle meanings of each song, exploring the world and the states of heart and mind in which Schubert created them, and the exquisite resonance and affinities that continue, even today, to move us so profoundly.

    Even so, many of us believe that propaganda and manipulation aren't problems for us--not in the way they were for the totalitarian societies of the mid-twentieth century. In "How Propaganda Works," Jason Stanley demonstrates that more attention needs to be paid. He examines how propaganda operates subtly, how it undermines democracy--particularly the ideals of democratic deliberation and equality--and how it has damaged democracies of the past.Focusing on the shortcomings of liberal democratic states, Stanley provides a historically grounded introduction to democratic political theory as a window into the misuse of democratic vocabulary for propaganda's selfish purposes. He lays out historical examples, such as the restructuring of the US public school system at the turn of the twentieth century, to explore how the language of democracy is sometimes used to mask an undemocratic reality. Drawing from a range of sources, including feminist theory, critical race theory, epistemology, formal semantics, educational theory, and social and cognitive psychology, he explains how the manipulative and hypocritical declaration of flawed beliefs and ideologies arises from and perpetuates inequalities in society, such as the racial injustices that commonly occur in the United States."How Propaganda Works" shows that an understanding of propaganda and its mechanisms is essential for the preservation and protection of liberal democracies everywhere.

    Her sweet boy with the big brown eyes had probably never heard her lullabies.Denworth knew the importance of enrichment to the developing brain but had never contemplated the opposite: Deprivation.  How would a child’s brain grow outside the world of sound most of us take for granted? How would he communicate?  Would he learn to read and write—weren’t phonics a key to literacy? How long did they have until Alex’s brain changed irrevocably? In her drive to understand the choices—starting with the angry debate between supporters of American Sign Language and the controversial but revolutionary cochlear implant—Denworth soon found that every decision carried weighty scientific, social and even political implications.  As she grappled with the complex collisions between the emerging field of brain plasticity, the possibilities of modern technology, and the changing culture of the Deaf community, she gained a new appreciation of the exquisite relationship between sound, language and learning.  It became clear that Alex’s ears—and indeed everyone’s—were just the beginning.An acclaimed science journalist as well as a mother, Denworth interviewed the world’s experts on language development, inventors of ground-breaking technology, Deaf leaders, and neuroscientists at the frontiers of research.  She presents insights from studies of everything from at-risk kids in Head Start to noisy cocktail party conversation, from songbirds to signal processing, and from the invention of the telephone to sign language.Weaving together tales from the centuries-long quest to develop the cochlear implant and simultaneous leaps in neuroscientific knowledge against a tumultuous backdrop of identity politics, I Can Hear You Whisper shows how sound sculpts our children’s brains and the life changing consequences of that delicate process.

    Some of these chapters are contained in the present volume. They deal entirely with the "steps toward being" that the individual can take in order to learn the Art of Being. How can we realize and actualize Love, Reason, and meaningful, productive work? Fromm here offers the Art of Being, a way of living based on authentic self-awareness that comes only through honest self-analysis. Wisely, he warns of the pitfalls of our attaining enlightenment without effort, or believing that life can be lived without pain. The tantalizing "spiritual smorgasbord" offered by our consumer-oriented world, Fromm maintains, only feeds our illusions of "easy awareness." Confronting the psycho-Gurus who preach these shortcuts to enlightenment, Fromm offers another way to self-awareness and well-being, one based on psychoanalysis and self-awareness through meditation. If the Art of Being - the art of functioning as a whole person - can be considered the supreme goal of life, a breakthrough occurs when we move from narcissistic selfishness and egotism - from having - to psychological and spiritual happiness - being. The Art of Being will be one of the most important works in the Fromm canon for years to come.

    This major work of ecological philosophy startles the senses out of habitual ways of perception.For a thousand generations, human beings viewed themselves as part of the wider community of nature, and they carried on active relationships not only with other people with other animals, plants, and natural objects (including mountains, rivers, winds, and weather patters) that we have only lately come to think of as inanimate. How, then, did humans come to sever their ancient reciprocity with the natural world? What will it take for us to recover a sustaining relation with the breathing earth?In The Spell of the Sensuous David Abram draws on sources as diverse as the philosophy of Merleau-Ponty, Balinese shamanism, Apache storytelling, and his own experience as an accomplished sleight-of-hand of magician to reveal the subtle dependence of human cognition on the natural environment. He explores the character of perception and excavates the sensual foundations of language, which--even at its most abstract--echoes the calls and cries of the earth. On every page of this lyrical work, Abram weaves his arguments with a passion, a precision, and an intellectual daring that recall such writers as Loren Eisleley, Annie Dillard, and Barry Lopez.