Eugene McCarraher reveals how mammon ensnared us and how we can find a more humane, sacramental way of being in the world.If socialists and Wall Street bankers can agree on anything, it is the extreme rationalism of capital. At least since Max Weber, capitalism has been understood as part of the "disenchantment" of the world, stripping material objects and social relationships of their mystery and sacredness. Ignoring the motive force of the spirit, capitalism rejects the awe-inspiring divine for the economics of supply and demand.Eugene McCarraher challenges this conventional view. Capitalism, he argues, is full of sacrament, whether or not it is acknowledged. Capitalist enchantment first flowered in the fields and factories of England and was brought to America by Puritans and evangelicals whose doctrine made ample room for industry and profit. Later, the corporation was mystically animated with human personhood, to preside over the Fordist endeavor to build a heavenly city of mechanized production and communion. By the twenty-first century, capitalism has become thoroughly enchanted by the neoliberal deification of "the market."Informed by cultural history and theology as well as economics, management theory, and marketing, The Enchantments of Mammon looks not to Marx and progressivism but to nineteenth-century Romantics for salvation. The Romantic imagination favors craft, the commons, and sensitivity to natural wonder. It promotes labor that, for the sake of the person, combines reason, creativity, and mutual aid. In this impassioned challenge, McCarraher makes the case that capitalism has hijacked and redirected our intrinsic longing for divinity--and urges us to break its hold on our souls.

    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

    As conscientious objectors during World War II, these men were eager to help in the war effort but restricted from combat by their pacifist beliefs. So, instead, they volunteered to become guinea pigs in one of the most unusual experiments in medical history -- one that required a year of systematic starvation. Dr. Ancel Keys was already famous for inventing the K ration when the War Department asked for his help with feeding the starving citizens of Europe and the Far East at the war's end. Fascists and Communists, it was feared, could gain a foothold in war-ravaged areas. "Starved people," Keys liked to say, "can't be taught Democracy." The government needed to know the best way to rehabilitate those people who had been severely underfed during the long war. To study rehabilitation, Keys first needed to create a pool of starving test subjects. Gathered in a cutting-edge lab underneath the football stadium at the University of Minnesota, Dr. Keys' test subjects forsook most food and were monitored constantly so that Dr. Keys and his scientists could study the effects of starvation on otherwise healthy people. While the weight loss of the men followed a neat mathematical curve, the psychological deterioration was less predictable. Some men drank quarts and quarts of water to fill their empty stomachs. One man chewed as many as forty packs of gum a day. One man mutilated himself to escape the experiment. Ultimately only four of the men were expelled from the experiment for cheating -- a testament to the volunteers' determination and toughness. To prevent atrocities of the kind committed by the Nazi doctors, international law now prevents this kind of experimentation on healthy people. But in this remarkable book, Todd Tucker captures a lost sliver of American history -- a time when cold scientific principles collided with living, breathing human beings. Tucker depicts the agony and endurance of a group of extraordinary men whose lives were altered not only for the year they participated in the experiment, but forever.

    This vividly detailed cultural history of L.A. from 1940 to 1970 traces the rise of a new suburban consciousness adopted by a generation of migrants who abandoned older American cities for Southern California's booming urban region. Eric Avila explores expressions of this new "white identity" in popular culture with provocative discussions of Hollywood and film noir, Dodger Stadium, Disneyland, and L.A.'s renowned freeways. These institutions not only mirrored this new culture of suburban whiteness and helped shape it, but also, as Avila argues, reveal the profound relationship between the increasingly fragmented urban landscape of Los Angeles and the rise of a new political outlook that rejected the tenets of New Deal liberalism and anticipated the emergence of the New Right. Avila examines disparate manifestations of popular culture in architecture, art, music, and more to illustrate the unfolding urban dynamics of postwar Los Angeles. He also synthesizes important currents of new research in urban history, cultural studies, and critical race theory, weaving a textured narrative about the interplay of space, cultural representation, and identity amid the westward shift of capital and culture in postwar America.

    The event remains one of mankind’s greatest achievements and was witnessed by the largest worldwide television audience in history. In the years since, millions more have had their Earth-centric perspective unalterably changed by the iconic photograph of Aldrin standing on the surface of the moon, the blackness of space behind him and his fellow explorer and the Eagle reflected in his visor. Describing the alien world he was walking upon, he uttered the words “magnificent desolation.” And as the astronauts later sat in the Eagle, waiting to begin their journey back home, knowing that they were doomed unless every system and part on board worked flawlessly, it was Aldrin who responded to Mission Control’s clearance to take off with the quip, “Roger. Understand. We’re number one on the runway.”The flight of Apollo 11 made Aldrin one of the most famous persons on our planet, yet few people know the rest of this true American hero’s story. In Magnificent Desolation, Aldrin not only gives us a harrowing first-person account of the lunar landing that came within seconds of failure and the ultimate insider’s view of life as one of the superstars of America’s space program, he also opens up with remarkable candor about his more personal trials–and eventual triumphs–back on Earth. From the glory of being part of the mission that fulfilled President Kennedy’s challenge to reach the moon before the decade was out, Aldrin returned home to an Air Force career stripped of purpose or direction, other than as a public relations tool that NASA put to relentless use in a seemingly nonstop world tour. The twin demons of depression and alcoholism emerged–the first of which Aldrin confronted early and publicly, and the second of which he met with denial until it nearly killed him. He burned through two marriages, his Air Force career came to an inglorious end, and he found himself selling cars for a living when he wasn’t drunkenly wrecking them. Redemption came when he finally embraced sobriety, gained the love of a woman, Lois, who would become the great joy of his life, and dedicated himself to being a tireless advocate for the future of space exploration–not only as a scientific endeavor but also as a thriving commercial enterprise.These days Buzz Aldrin is enjoying life with an enthusiasm that reminds us how far it is possible for a person to travel, literally and figuratively. As an adventure story, a searing memoir of self-destruction and self-renewal, and as a visionary rallying cry to once again set our course for Mars and beyond, Magnificent Desolation is the thoroughly human story of a genuine hero.

    Governments have sought to control, censor, or bend art to their own purposes; artists have resisted and subverted such efforts. But what happens when artists work on behalf of a political program? When does art become propaganda? Is art tainted, diminished, or elevated by its political content?Toby Clark argues that propaganda art appears in many guises, and that the desire to persuade is not always at odds with aesthetic aims. He examines these many forms: the state propaganda of Nazi Germany, Fascist Italy, and Stalin's Soviet Union; democratic governments' representation of enemies in wartime; and anti-government protest art around the world, uncovering the complex rhetoric, high beauty, and ambiguous role of art that dwells in the political realm.

    How College Works reveals the decisive role that personal relationships play in determining a student's success, and puts forward a set of small, inexpensive interventions that yield substantial improvements in educational outcomes.At a liberal arts college in New York, the authors followed nearly one hundred students over eight years. The curricular and technological innovations beloved by administrators mattered much less than did professors and peers, especially early on. At every turning point in undergraduate lives, it was the people, not the programs, that proved critical. Great teachers were more important than the topics studied, and just two or three good friendships made a significant difference academically as well as socially.For most students, college works best when it provides the daily motivation to learn, not just access to information. Improving higher education means focusing on the quality of relationships with mentors and classmates, for when students form the right bonds, they make the most of their education.

    The hero of this novel is the young and idealistic Nobuo Nagano, who finds himself forced to make a heart-rending decision, when he must choose between his childhood sweetheart, Fujiko, and his newly found Christian faith. Set in Hokkaido at the turn of the nineteenth century, when for the first time Western culture and ideas were beginning to challenge Japan's long-held traditions, Shiokari Pass takes an intriguing look at Japanese life and thought of a hundred years ago. Filled with drama and featuring a spectacular climax amidst the snows of Hokkaido, the book was a bestseller in Japanese and a successful motion picture as well. Based on the life of a high-ranking railway employee who was revered for his humanitarian deeds, Shiokari Pass offers a revealing glimpse of the long, hard road traveled by Japanese Christians.

     Several hours before the Germans launched the deadliest campaign in military history in 1941, Adolf Hitler and Joseph Goebbels, the minister of popular enlightenment and propaganda, were discussing the timing of their imminent invasion of the Soviet Union. According to Goebbels' journals, the two worked on Hitler's speech, and marveled at the ways in which they were planning to defeat communism and change the map of Europe. But that night, Hitler and Goebbels also discussed the recent advances in cancer research made by Nazi doctors in their pursuit of a "sanitary utopia." As science historian Robert N. Proctor exposes in his provocative new book The Nazi War on Cancer, the Nazi medical establishment was years ahead of the rest of the world in public health reform and research. Proctor is far from being a revisionist historian, and recognizes the extreme sensitivity of his subject matter. In fact, he is a cautious and elegant writer who frequently reminds readers of his earlier book, Racial Hygiene: Medicine Under the Nazis, in which he documents the horrors of Nazi medical experiments. In this book, however, he finds that some Nazi scientific research was actually path-breaking and may have developed some of the era's most successful cancer prevention programs. As Proctor is careful to distinguish, The Nazi War on Cancer is not a book that champions Nazi medical practices; rather, it is "abookabout fascism, and a book about science," as the author seeks to understand how "fascism suppressed certain kinds of science&[and] how fascist ideals fostered research directions and lifestyle fashions that look strikingly like those we today might embrace." Until now, historians' focus on Nazi medical research has traditionally concentrated on political and racial ideology, because "little might appear to be gained by pointing to Nazi success in fighting food dyes, tobacco, or occupational dust." But the extraordinary work conducted during the Wilhelmine and Weimar eras was undeniable — German medicine and public health was the envy of the world at that time. In what is perhaps one of Proctor's most astounding revelations, evidence of the link between cigarette smoking and lung cancer was published as early as 1929 by Nazi physician Fritz Lickint, though cigarette incriminating studies didn't appear in England and the United States until 1950. Hitler was a virulent anti-smoker, and his regime launched one of the most aggressive anti-tobacco campaigns of the twentieth century. By 1938, smoking was banned in many offices, hospitals and rest homes, and "no-smoking" cars were established on all German trains by the following year. According to one propaganda poster, Hitler attributed his "performance at work" to his ability to resist both nicotine and alcohol. Diet was also important to the Nazis, and public health officials strongly promoted the consumption whole-grain breads, vegetables, and fruits, and other foods that were low in fat, high in fiber, and free of artificial colorings and preservatives. Germans were also encouraged to consult their physicians regularly for early cancer detection, and women were taught how to perform breast self-examinations as early as 1936. As one poster caption read: "Every automobile gets a regular checkup; that is obvious. Shouldn't the much more complicated machine of the human body also get regular checkups?" Why were Nazis so concerned with cancer prevention? Proctor notes that cancer "expressed larger cultural idioms" and became "a metaphor for all that was seen as wrong with society." Because of this, the German body "belonged" to the Führer, and good health was considered a citizen's duty. Because Nazi public health workers attributed improper diet as a major contributor to cancer, the effort to become the master race could only be achieved through healthy living. As one Hitler Youth manual asserted, "Nutrition is not a private matter!" It is far from Proctor's intention to express the simplistic and irresponsible sentiment that "good can come from evil" by bringing readers' attention to the progress made by Nazi scientists. Instead, this brave and sophisticated account brilliantly evokes the nuances of ethical paradoxes, as Proctor successfully points out our "need to better understand how the routine practice of science can so easily coexist with the routine exercise of cruelty." —Kera Bolonik

    She was arrested on the charge of witchcraft in June of 1663. She was found guilty and was executed on December 30th that same year. Her trial was long and involved, with many witnesses from several towns and villages.Consisting of direct translations of the trial testimony, The Trial of Tempel Anneke portrays a large and varied cast of characters including trades people, farmers, local nobility, village drunkards, and Tempel Anneke herself. Tempel Anneke was in several ways typical of those accused of witchcraft, yet from the testimony she emerges as a complex and controversial figure. She was literate and owned a few books and herbals; she prided herself on her medical and pharmaceutical knowledge and until the final stages of the trial when her confession was extracted under torture, she was sharp, assertive, and even witty in her responses to questioning. This English translation offers direct archival insight into the workings of 17th century law, contemporary understandings of justice, perceptions of natural and magical causes, and above all, the social history of the period.While other witchcraft materials exist, this is the only text available in English that allows students to follow a witchcraft trial from beginning to end. Highly readable, this astonishing narrative is perfectly suited to being read as a complete document. The useful additions of introduction, appendices, glossary, and index provide readers with important background information so that they can engage directly with the material.

    Now at last Lisa McGirr dismantles this cherished myth to reveal a much more significant history. Prohibition was the seedbed for a pivotal expansion of the federal government, the genesis of our contemporary penal state. Her deeply researched, eye-opening account uncovers patterns of enforcement still familiar today: the war on alcohol was waged disproportionately in African American, immigrant, and poor white communities. Alongside Jim Crow and other discriminatory laws, Prohibition brought coercion into everyday life and even into private homes. Its targets coalesced into an electoral base of urban, working-class voters that propelled FDR to the White House.This outstanding history also reveals a new genome for the activist American state, one that shows the DNA of the right as well as the left. It was Herbert Hoover who built the extensive penal apparatus used by the federal government to combat the crime spawned by Prohibition. The subsequent federal wars on crime, on drugs, and on terror all display the inheritances of the war on alcohol. McGirr shows the powerful American state to be a bipartisan creation, a legacy not only of the New Deal and the Great Society but also of Prohibition and its progeny.The War on Alcohol is history at its best—original, authoritative, and illuminating of our past and its continuing presence today.