For more than forty years, Hitchens delivered to numerous publications on both sides of the Atlantic essays that were astonishingly wide-ranging and provocative. The judges for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay, posthumously bestowed on Hitchens, praised him for the way he wrote “with fervor about the books and writers he loved and with unbridled venom about ideas and political figures he loathed.” He could write, the judges went on to say, with “undisguised brio, mining the resources of the language as if alert to every possibility of color and inflection.” He was, as Benjamin Schwarz, his editor at The Atlantic magazine, recalled, “slashing and lively, biting and funny—and with a nuanced sensibility and a refined ear that he kept in tune with his encyclopedic knowledge and near photographic memory of English poetry.” And as Michael Dirda, writing in the Times Literary Supplement, observed, Hitchens “was a flail and a scourge, but also a gift to readers everywhere.”The author of five previous volumes of selected writings, including the international bestseller Arguably, Hitchens left at his death nearly 250,000 words of essays not yet published in book form. And Yet… assembles a selection that usefully adds to Hitchens’s oeuvre. It ranges from the literary to the political and is, by turns, a banquet of entertaining and instructive delights, including essays on Orwell, Lermontov, Chesterton, Fleming, Naipaul, Rushdie, Pamuk, and Dickens, among others, as well as his laugh-out-loud self-mocking “makeover.” The range and quality of Hitchens’s essays transcend the particular occasions for which they were originally written. Often prescient, always pugnacious, and formidably learned, Hitchens was a polemicist for the ages. With this posthumous volume, his reputation and his readers will continue to grow.Christopher Hitchens was the cartographer of his own literary and political explorations. He sought assiduously to affirm—and to reaffirm—the ideas of secularism, reason, libertarianism, internationalism, and solidarity, values always under siege and ever in need of defending. Henry James once remarked, “Nothing is my last word on anything.” For Hitchens, as for James, there was always more to be said.

    This is the last of Bakhtin's extant manuscripts published in the Soviet Union. All but one of these essays (the one on the Bildungsroman) were written in Bakhtin's later years and thus they bear the stamp of a thinker who has accumulated a huge storehouse of factual material, to which he has devoted a lifetime of analysis, reflection, and reconsideration.

    Although his writings on philosophical aesthetics have shown him to be a leading authority in the field, his defence of political conservatism has marked him out in academic circles as public enemy number one. Whether it is Scruton's opinions that get up the nose of his critics, or the wit and erudition with which he expresses them, there is no doubt that their noses are vastly distended by his presence, and constantly on the verge of a collective sneeze. Contrary to orthodox opinion, however, Roger Scruton is a human being, and Gentle Regrets contains the proof of it - a quiet, witty but also serious and moving account of the ways in which life brought him to think what he thinks, and to be what he is. His moving vignettes of his childhood and later influences illuminate this book. Love him or hate him, he will engage you in an argument that is both intellectually stimulating and informed by humour.

    Calling poets away from civilization, back towards the wilderness, Lasky brazenly urges artists away from conceptual programs, resurrecting imagination and faith-in-the-uncertain as saviors from mediocrity.

    . . . A masterpiece.” —Margaret Atwood“No one who is invested in any kind of art . . . can read The Gift and remain unchanged.” —David Foster WallaceBy now a modern classic, The Gift is a brilliantly orchestrated defense of the value of creativity and of its importance in a culture increasingly governed by money and overrun with commodities. This book is even more necessary today than when it first appeared.An illuminating and transformative book, and completely original in its view of the world, The Gift is cherished by artists, writers, musicians, and thinkers. It is in itself a gift to all who discover the classic wisdom found in its pages.

    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

    A central text in the history of German idealism, its original German publication in 1800 came seven years after Fichte's Wissenschaftslehre and seven years before Hegel's Phenomenology of Spirit.

    First published in 1947, Horkheimer here explores the ways in Nazism - that most irrational of political movements - had co-opted ideas of rationality for its own ends. Ultimately, the book is a warning of the ways this might happen again and, as such, this is a book that has never appeared more timely.

    "Brains before bullets" - ancient and modern wisdom for "mechanics and motorcycle enthusiasts"Essential reading for fans of the show, this book takes readers deeper into the Sons of Anarchy Motorcycle Club, the Teller-Morrow family, and the ethics that surround their lives and activities.Provides fascinating moral insights into Sons of Anarchy, its key characters, plot lines and ideas Investigates compelling philosophical issues centering on loyalty, duty, the ethics of war, authority, religion and whether the ends justify the means Teaches complex philosophical ideas in a way that's accessible to the general interest reader in order to inspire them to further reading of the great philosophers Authors use their deep knowledge of the show to illuminate themes that are not always apparent even to die-hard fans

    

    Delivering a searing indictment of the political leaders who have led us astray, Scarborough inspires conservatives to reclaim their heritage by drawing upon the strength of the movement’s rich history.With independent thinking and straight talk, Scarborough explains:• How Washington and Wall Street conspired to create the housing bubble that caused America’s financial meltdown• How the “candidate of change” has not only maintained but accelerated the reckless spending policies that led us to this historic economic collapse• How Washington’s bailout culture will cripple America’s future if left unchecked• How Barack Obama’s stimulus plan devolved into a socialist spending spree that would make FDR and LBJ shudder• And how conservatives need to take a closer look at Ronald Reagan’s political career before claiming his great legacyA fearlessly argued conservative manifesto that brings American conservatism into the twenty-first century, The Last Best Hope is a must-read for all who care about the direction America is heading.

    Scholem was a precocious teenager when he met Benjamin, who became his close friend and intellectual mentor. His account of that relationship--which was to remain crucial for both men--is both a celebration of his friend's spellbinding genius and a lament for the personal and intellectual self-destructiveness that culminated in Benjamin's suicide in 1940.At once prickly and heartbroken, argumentative and loving, Walter Benjamin: The Story of a Friendship is an absorbing memoir with the complication of character and motive of a novel. As Scholem revisits the passionate engagements over Marxism and Kabbala, Europe and Palestine that he shared with Benjamin, it is as if he sought to summon up his lost friend's spirit again, to have the last word in the argument that might have saved his life.

    Originally published in 1966, it has never gone out of print and has influenced generations of readers all over the world. It includes the famous essays "Notes on Camp" and "Against Interpretation," as well as her impassioned discussions of Sartre, Camus, Simone Weil, Godard, Beckett, Lévi-Strauss, science-fiction movies, psychoanalysis, and contemporary religious thought.This edition has a new afterword, "Thirty Years Later," in which Sontag restates the terms of her battle against philistinism and against ethical shallowness and indifference.

    Deleuze's essay, certainly the most profound study yet produced on the relations between sadism and masochism, seeks to develop and explain Masoch's "peculiar way of 'desexualizing' love while at the same time sexualizing the entire history of humanity." He shows that masochism is something far more subtle and complex than the enjoyment of pain, that masochism has nothing to do with sadism; their worlds do not communicate, just as the genius of those who created them - Masoch and Sade - lie stylistically, philosophically, and politically poles a part. Venus in Furs, the most famous of all of Masoch's novels was written in 1870 and belongs to an unfinished cycle of works that Masoch entitled The Heritage of Cain. The cycle was to treat a series of themes including love, war, and death. The present work is about love. Although the entire constellation of symbols that has come to characterize the masochistic syndrome can be found here - fetishes, whips, disguises, fur-clad women, contracts, humiliations, punishment, and always the volatile presence of a terrible coldness - these do not eclipse the singular power of Masoch's eroticism.

    Their attitude towards Einstein is like that of Mark Twain towards the writer of a work on mathematics: here was a man who had written an entire book of which Mark could not understand a single sentence. Einstein, therefore, is great in the public eye partly because he has made revolutionary discoveries which cannot be translated into the common tongue. We stand in proper awe of a man whose thoughts move on heights far beyond our range, whose achievements can be measured only by the few who are able to follow his reasoning and challenge his conclusions. There is, however, another side to his personality. It is revealed in the addresses, letters, and occasional writings brought together in this book. These fragments form a mosaic portrait of Einstein the man. Each one is, in a sense, complete in itself; it presents his views on some aspect of progress, education, peace, war, liberty, or other problems of universal...