Written by two well-known scholars in the field of literary study, this well-respected text puts an emphasis on the individual contributors to the development of literary criticism, from Plato and Aristotle to the present.

    Nearly as frequently, he wrote dense and joyful letters to his wife, Clara Westhoff, expressing his dismay before the paintings and his ensuing revelations about art and life.Rilke was knowledgeable about art and had even published monographs, including a famous study of Rodin that inspired his New Poems. But Cézanne's impact on him could not be conveyed in a traditional essay. Rilke's sense of kinship with Cézanne provides a powerful and prescient undercurrent in these letters -- passages from them appear verbatim in Rilke's great modernist novel, The Notebooks of Malte Laurids Brigge. Letters on Cézanne is a collection of meaningfully private responses to a radically new art."Rilke makes the feeling and views around great art real, weaving into his letters the indescribable thing that gives us beauty, truth, pleasure."--HELEN FRANKENTHALER, Art & Antiques"[These letters] are themselves extraordinarily peaceful and concentrated, seeping with the sense and recognition of Cézanne's colors, in nature as on canvas, colors which seem a part of Rilke himself, of the words and paper."--JOHN BAYLEY, The New York Review of Books

    Based on the 1999 Walter Neurath Memorial Lecture, this book uses the work of the Belgian artist Marcel Broodthaers to argue that the specifity of mediums, even modernist ones, can never be simply collapsed into the physicality of their support.

    It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness.This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.

    Three young friends meet over apricot cocktails at the Bec-de-Gaz bar on the rue Montparnasse. They are Jean-Paul Sartre, Simone de Beauvoir and their friend Raymond Aron, who opens their eyes to a radical new way of thinking. Pointing to his drink, he says, 'You can make philosophy out of this cocktail!'From this moment of inspiration, Sartre will create his own extraordinary philosophy of real, experienced life–of love and desire, of freedom and being, of cafés and waiters, of friendships and revolutionary fervour. It is a philosophy that will enthral Paris and sweep through the world, leaving its mark on post-war liberation movements, from the student uprisings of 1968 to civil rights pioneers.At the Existentialist Café tells the story of modern existentialism as one of passionate encounters between people, minds and ideas. From the ‘king and queen of existentialism'–Sartre and de Beauvoir–to their wider circle of friends and adversaries including Albert Camus, Martin Heidegger, Maurice Merleau-Ponty and Iris Murdoch, this book is an enjoyable and original journey through a captivating intellectual movement. Weaving biography and thought, Sarah Bakewell takes us to the heart of a philosophy about life that also changed lives, and that tackled the biggest questions of all: what we are and how we are to live.

    One of the most important books on the social sciences since the Second World War, it is a searing insight into the ideas of this great thinker.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    Gulliver’s Travels is, of course, his world renowned masterpiece in the genre; however, Swift wrote other, shorter works that also offer excellent evidence of his inspired lampoonery. Perhaps the most famous of these is A Modest Proposal, in which he straight-facedly suggests that Ireland could solve its hunger problems by using its children for food. Also included in this collection are The Battle of Books, A Meditation upon a Broomstick, A Discourse Concerning the Mechanical Operations of the Spirit and An Argument Against Abolishing Christianity in England.This inexpensive edition will certainly be welcomed by teachers and students of English literature, but its appeal extends to any reader who delights in watching a master satirist wield words as weapons.

    Here, in one of the most important and fascinating books of his career, Aldous Huxley uses his tremendous knowledge of human relations to compare the modern-day world with his prophetic fantasy. He scrutinizes threats to humanity, such as overpopulation, propaganda, and chemical persuasion, and explains why we have found it virtually impossible to avoid them. Brave New World Revisited is a trenchant plea that humankind should educate itself for freedom before it is too late. Brave New World Revisted (first published in 1958) is not a reissue or revision of 0060850523 Brave New World. Brave New World is a novel, whereas Brave New World Revisted is a nonfiction exploration of the themes in Brave New World.

    Garbage time is running out.Can what is playing you make it to Level 2?Fanged Noumena assembles for the first time the writings of Nick Land, variously described as 'rabid nihilism', 'Deleuzian Thatcherism', 'accelerationism', and 'cybergothic'. Wielding weaponised, machinically-recombined versions of Deleuze and Guattari, Reich and Freud, in the company of fellow 'werewolves' such as Nietzsche, Bataille, Artaud, Trakl, and Cioran, to a cut-up soundtrack of Bladerunner, Terminator, and Apocalypse Now, Land plotted a rigorously schizophrenic escape route out of academic philosophy, and declared all-out war on the Human Security System. Despite his 'disappearance', Land's output has been a crucial underground influence both on recent Speculative Realist thought, and on artists, writers, musicians, and filmmakers invigorated by his uncompromising and abrasive philosophical vision.Beginning with Land's radical rereadings of Heidegger, Nietzsche, and Kant, and ending with Professor Barker's cosmic theory of geo-trauma and neo-qabbalistic attempts to formulate a numerical anti-language, Fanged Noumena rescues from obscurity papers, talks and articles some of which have never previously appeared in print. Long the subject of rumour and vague legend, Land's turbulent post-genre theory-fictions of cybercapitalist meltdown smear cyberpunk, philosophy, arithmetic, poetics, cryptography, anthropology, grammatology, and the occult into unrecognisable and gripping hybrids.Fanged Noumena is a dizzying trip through Land's rigorous, incisive, and provocative work, establishing it as an indispensable resource for radically inhuman thought in the twenty-first century.

    His work on the fantastic is indeed about a historical phenomenon that we recognize, about specific works that we may read, but it is also about the use and abuse of generic theory.As an essay in fictional poetics, The Fantastic is consciously structuralist in its approach to the generic subject. Todorov seeks linguistic bases for the structural features he notes in a variety of fantastic texts, including Potocki's The Sargasso Manuscript, Nerval's Aur lia, Balzac's The Magic Skin, the Arabian Nights, Cazotte's Le Diable Amoureux, Kafka's The Metamorphosis, and tales by E. T. A. Hoffman, Charles Perrault, Guy de Maupassant, Nicolai Gogol, and Edgar A. Poe.

    Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art.Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings.This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.

    Long celebrated as a pathbreaking achievement in the social history of the ancient world, M.I. Finley's brilliant study remains, as classicist Bernard Knox notes in his introduction to this new edition, "as indispensable to the professional as it is accessible to the general reader"--a fundamental companion for students of Homer and Homeric Greece.

    J. Ayer in a fabled debate about the existence of God and the possibility of metaphysics, knew that seminary students were fed a woefully inadequate diet of theses and proofs, and that their familiarity with most of history's great thinkers was reduced to simplistic caricatures. Copleston set out to redress the wrong by writing a complete history of Western philosophy, one crackling with incident and intellectual excitement -- and one that gives full place to each thinker, presenting his thought in a beautifully rounded manner and showing his links to those who went before and to those who came after him. The result of Copleston's prodigious labors is a history of philosophy that is unlikely ever to be surpassed. Thought magazine summed up the general agreement among scholars and students alike when it reviewed Copleston's A History of Philosophy as "broad-minded and objective, comprehensive and scholarly, unified and well proportioned... We cannot recommend [it] too highly."

    From the 1930s through the present day, his writings have been shaping the international literary consciousness. The Space of Literature, first published in France in 1955, is central to the development of Blanchot's thought. In it he reflects on literature and the unique demand it makes upon our attention. Thus he explores the process of reading as well as the nature of artistic creativity, all the while considering the relation of the literary work to time, to history, and to death. This book consists not so much in the application of a critical method or the demonstration of a theory of literature as in a patiently deliberate meditation upon the literary experience, informed most notably by studies of Mallarmé, Kafka, Rilke, and Hölderlin. Blanchot's discussions of those writers are among the finest in any language.