In exploring the public meaning of ingeniously defended private meanings, de Certeau draws brilliantly on an immense theoretical literature in analytic philosophy, linguistics, sociology, semiology, and anthropology--to speak of an apposite use of imaginative literature.

    Lipstick Traces tells a story as disruptive and compelling as the century itself. Hip, metaphorical and allusive...--Gail Caldwell, Boston Sunday Globe. Full-color illustrations and halftones.

    Breathtaking in its range and erudition, it explores Shiite festivals and the English Civil war, the finger exercises of monkeys and the effects of inflation in Weimar Germany. In this study of the interplay of crowds, Canetti offers one of the most profound and startling portraits of the human condition.

    The Dialectical Imagination is a major history of this monumental cultural and intellectual enterprise during its early years in Germany and in the United States. Martin Jay has provided a substantial new preface for this edition, in which he reflects on the continuing relevance of the work of the Frankfurt School.

    YouTube and Facebook dominate the web. In Reality Hunger: A Manifesto, his landmark new book, David Shields (author of the New York Times best seller The Thing About Life Is That One Day You’ll Be Dead) argues that our culture is obsessed with “reality” precisely because we experience hardly any.Most artistic movements are attempts to figure out a way to smuggle more of what the artist thinks is reality into the work of art. So, too, every artistic movement or moment needs a credo, from Horace’s Ars Poetica to Lars von Trier’s “Vow of Chastity.” Shields has written the ars poetica for a burgeoning group of interrelated but unconnected artists in a variety of forms and media who, living in an unbearably manufactured and artificial world, are striving to stay open to the possibility of randomness, accident, serendipity, spontaneity; actively courting reader/listener/viewer participation, artistic risk, emotional urgency; breaking larger and larger chunks of “reality” into their work; and, above all, seeking to erase any distinction between fiction and nonfiction.The questions Reality Hunger explores—the bending of form and genre, the lure and blur of the real—play out constantly all around us. Think of the now endless controversy surrounding the provenance and authenticity of the “real”: A Million Little Pieces, the Obama “Hope” poster, the sequel to The Catcher in the Rye, Robert Capa’s “The Falling Soldier” photograph, the boy who wasn’t in the balloon. Reality Hunger is a rigorous and radical attempt to reframe how we think about “truthiness,” literary license, quotation, appropriation.Drawing on myriad sources, Shields takes an audacious stance on issues that are being fought over now and will be fought over far into the future. People will either love or hate this book. Its converts will see it as a rallying cry; its detractors will view it as an occasion for defending the status quo. It is certain to be one of the most controversial and talked-about books of the year.

    Hailed for its scientific analysis and poetic grace when it was first published in 1952, the book remains a vital force today.

    Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text.Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television."We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect.The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance.These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination.In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.

    The essays and interviews collected here form a vivid panorama of the range and unity of Sartre’s interests, since his deliberate attempt to wed his original existentialism to a rethought Marxism. A long and brilliant autobiographical interview, given to New Left Review in 1969, constitutes the best single overview of Sartre’s whole intellectual evolution. Three analytic texts on the US war in Vietnam, the Soviet invasion of Czechoslovakia, and the lessons of the May Revolt in France, define his political positions as a revolutionary socialist. Questions of philosophy and aesthetics are explored in essays on Kierkegaard, Mallarme and Tintoretto. Another section of the collection explores Sartre’s critical attitude to orthodox psychoanalysis as a therapy, and is accompanied by rejoinders from colleagues on his journal Les Temps Modernes. The volume concludes with a prolonged reflection on the nature and role of intellectuals and writers in advanced capitalism, and their relationship to the struggles of the exploited and oppressed classes. Between Existentialism and Marxism is an impressive demonstration of the breadth and vitality of Sartre’s thought, and its capacity to respond to political and cultural changes in the contemporary world.

    Moving from the peasant revolts of the late Middle Ages to the witch-hunts and the rise of mechanical philosophy, Federici investigates the capitalist rationalization of social reproduction. She shows how the battle against the rebel body and the conflict between body and mind are essential conditions for the development of labor power and self-ownership, two central principles of modern social organization."It is both a passionate work of memory recovered and a hammer of humanity's agenda." Peter Linebaugh, author of The London Hanged"

    Beginning his epic study with Baudelaire, whose lurid poetry scandalized French stalwarts, Gay traces the revolutionary path of modernism from its Parisian origins to its emergence as the dominant cultural movement in world capitals such as Berlin and New York. A work unique in its breadth and brilliance, Modernism presents a thrilling pageant of heretics that includes (among others) Oscar Wilde, Pablo Picasso, and D. W. Griffiths; James Joyce, Virginia Woolf, and T. S. Eliot; Walter Gropius, Arnold Schoenberg, and (of course!) Andy Warhol. Finally, Gay examines the hostility of totalitarian regimes to modernist freedom and the role of Pop Art in sounding the death knell of a movement that dominated Western culture for 120 years. Lavishly illustrated, Modernism is a superlative achievement by one of our greatest historians.

    This expanded second edition offers: * 38 essays including 18 new articles* an editor's preface succinctly introducing each article* comprehensive coverage of every major cultural studies method and theory* an updated account of recent changes in the field* articles on new areas such as science and cyberculture, globalization, postcolonialism, public spheres and cultural policy* a fully revised introduction and an extensive guide to further reading.

    Here, arranged in chronological order, are essays from 1918 to 1956, in which Brecht explores his definition of the Epic Theatre and his theory of alienation-effects in directing, acting, and writing, and discusses, among other works, The Threepenny Opera, Mahagonny, Mother Courage, Puntila, and Galileo. Also included is "A Short Organum for the Theatre," Brecht's most complete exposition of his revolutionary philosophy of drama.Translated and edited by John Willett, Brecht on Theater is essential to an understanding of one of the twentieth century's most influential dramatists.

    Through the notion of trauma, she contends, we come to a new understanding that permits history to arise where immediate understanding is impossible. In her wide-ranging discussion, Caruth engages Freud's theory of trauma as outlined in Moses and Monotheism and Beyond the Pleasure Principle; the notion of reference and the figure of the falling body in de Man, Kleist, and Kant; the narratives of personal catastrophe in Hiroshima mon amour; and the traumatic address in Lecompte's reinterpretation of Freud's narrative of the dream of the burning child.

    This selection of critical writings reveals a different side of the great writer--the deep and serious reader of literature and philosophy, and the eloquent and original thinker about society and art. This illuminating collection includes "The Portrait of Mr. W. H.," "In Defense of Dorian Gray," reviews, and the writings from Intentions (1891), including "The Decay of Lying," "Pen, Pencil, Poison," and "The Critic as Artist."For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    We have to see that the economy is itself the crisis. It's not that there's not enough work, it's that there is too much of it. The Coming Insurrection is an eloquent call to arms arising from the recent waves of social contestation in France and Europe. Written by the anonymous Invisible Committee in the vein of Guy Debord—and with comparable elegance—it has been proclaimed a manual for terrorism by the French government (who recently arrested its alleged authors). One of its members more adequately described the group as “the name given to a collective voice bent on denouncing contemporary cynicism and reality.” The Coming Insurrection is a strategic prescription for an emergent war-machine capable of “spreading anarchy and live communism.” Written in the wake of the riots that erupted throughout the Paris suburbs in the fall of 2005 and presaging more recent riots and general strikes in France and Greece, The Coming Insurrection articulates a rejection of the official Left and its reformist agenda, aligning itself instead with the younger, wilder forms of resistance that have emerged in Europe around recent struggles against immigration control and the “war on terror.” Hot-wired to the movement of '77 in Italy, its preferred historical reference point, The Coming Insurrection formulates an ethics that takes as its starting point theft, sabotage, the refusal to work, and the elaboration of collective, self-organized life forms. It is a philosophical statement that addresses the growing number of those—in France, in the United States, and elsewhere—who refuse the idea that theory, politics, and life are separate realms.