Before all the bodies of those who had died in the first campaign had been located or identified, many more thousands would be slaughtered in another round of fighting. The first account to be written by a Russian woman, A Dirty War is an edgy and intense study of a conflict that shows no sign of being resolved. Exasperated by the Russian government's attempt to manipulate media coverage of the war, journalist Anna Politkovskaya undertook to go to Chechnya, to make regular reports and keep events in the public eye.In a series of despatches from July 1999 to January 2001 she vividly describes the atrocities and abuses of war, whether it be the corruption endemic in post-Communist Russia, in particular the government and the military, or the spurious arguments and abominable behaviour of the Chechen authorities. In these courageous reports, Politkovskaya excoriates male stupidity and brutality on both sides of the conflict and interviews the civilians whose homes and communities have been laid waste, leaving them nowhere to live, and nothing and no one to believe in.

    It brings the concerns of social science to an analysis of travel and sightseeing in the postindustrial age, during which the middle class acquired leisure time for international travel. This edition includes a new foreword by Lucy R. Lippard and a new afterword by the author.

    The idea of a counterculture -- a world outside of the consumer-dominated world that encompasses us -- pervades everything from the antiglobalization movement to feminism and environmentalism. And the idea that mocking or simply hoping the "system" will collapse, the authors argue, is not only counterproductive but has helped to create the very consumer society radicals oppose.In a lively blend of pop culture, history, and philosophical analysis, Heath and Potter offer a startlingly clear picture of what a concern for social justice might look like without the confusion of the counterculture obsession with being different.

    But now these divisions are eroding under the barrage of television, which turns the adult secrets of sex and violence into popular entertainment and pitches both news and advertising at the intellectual level of ten-year-olds.

    Drawing on workers' memoirs, social surveys, library registers, and more, the author discovers how members of the working classes educated themselves, which books they read, and how their reading influenced them.

    It can be read in a variety of ways: as a psychological investigation of Trump, as a philosophical meditation on the relationship between language and power, as a satirical compilation of the “collected wit and wisdom of Donald Trump,” and above all as a dagger into the rhetoric of American political discourse—a dissection of the politesse that gave rise to and sustains Trump. The book’s central thesis is that we have met the enemy and he is us. Who else but David Shields would make such an argument, let alone pull it off with such intelligence, brio, and wit, not to mention leaked off-air transcripts from Fox News? ------------- PRAISE ------------- “Shields has written the best book on the political and cultural implications of Trump’s presidency, and he nails it at least a hundred times, and in dozens of unique ways. Shields writes that Trump “seems not to have an inner life,” which explains a number of things no one else has gotten at. Bravo. I’m sending copies to everyone I can think of. My take—written on the inside cover of the book at 3 A.M. is this: “Donald Trump is the culture hero for all those people in the world wearing wigs and toupees and dignity diapers and prosthetic arms and legs, all those people who have false teeth and hearing aids, breast implants, and those rods that make your penis seem hard when it really isn’t. And there are more of those people in the world than we can imagine. Commercial fiction is far too slow and getting slower daily as it puckers its lips to the nether parts of the marketplace, and most discursive writing isn’t much faster. Shields’s deployment of self-reflexivity has moved the whole project beyond post-modernism. His self-reflexivity isn’t, as it has become with nearly everyone, a calcifying style or posture. It’s fully integrated, and thus it moves at the same speed as perception, even becoming an accelerant to meaning. Shields has earned the designation of being the writer most likely to be picked up and murdered should either the right or leftist fundamentalists take power. And this designation hasn’t been conferred on an American writer since Philip K. Dick. Shields is that good. He is one of a very small group of true 21st century writers, and I salute him as a master.” —Brian Fawcett “I wasn’t going to read it because I’m so tired of anti-Trump shit, but I love the book, agree with everything Shields nails about this moment. It’s the best summation of Trump I’ve come across. Such a relief to see someone get it. I was reading passages to my millennial Communist ‘Trump is going to kill us all’ bf, who didn’t say anything, just rolled away.” —Bret Easton Ellis“Shields’s most ‘accessible’ book and probably his best. Impossible to put down—a polyphonic bricolage that is both absolutely of this moment and deserving of a burial in a time capsule to be opened at another age. The clinical depression of our current historical circumstances is never absent from these pages, but while reading them, one does so with exultation at seeing Trump and his era so exactly skewered.” —Jonathan Raban “No other book approaches the man and the situation in quite this way: the problem isn’t out there; it’s in us. A book (deserving of a wide readership) for those who have a bit of trouble with the left and a ton of trouble with the right.

    Focusing on the “orientation” aspect of “sexual orientation” and the “orient” in “orientalism,” Ahmed examines what it means for bodies to be situated in space and time. Bodies take shape as they move through the world directing themselves toward or away from objects and others. Being “orientated” means feeling at home, knowing where one stands, or having certain objects within reach. Orientations affect what is proximate to the body or what can be reached. A queer phenomenology, Ahmed contends, reveals how social relations are arranged spatially, how queerness disrupts and reorders these relations by not following the accepted paths, and how a politics of disorientation puts other objects within reach, those that might, at first glance, seem awry.Ahmed proposes that a queer phenomenology might investigate not only how the concept of orientation is informed by phenomenology but also the orientation of phenomenology itself. Thus she reflects on the significance of the objects that appear—and those that do not—as signs of orientation in classic phenomenological texts such as Husserl’s Ideas. In developing a queer model of orientations, she combines readings of phenomenological texts—by Husserl, Heidegger, Merleau-Ponty, and Fanon—with insights drawn from queer studies, feminist theory, critical race theory, Marxism, and psychoanalysis. Queer Phenomenology points queer theory in bold new directions.

    In this new book, David Harvey seeks to determine what is meant by the term in its different contexts and to identify how accurate and useful it is as a description of contemporary experience.But the book is much more than this: in the course of his investigation the author provides a social and semantic history – from the Enlightenment to the present – of modernism and its expression in political and social ideas and movements, as well as in art, literature and architecture. He considers in particular how meaning and perception of time and space themselves vary over time and space, and shows that this variance affects individual values and social processes of the most fundamental kind.This book will be widely welcomed, not only for its clear and critical account of the arguments surrounding the propositions of modernity and postmodernity, but as an incisive contribution to the history of ideas and their relation to social and political change.

    During the Argentine junta's Dirty War against subversives, as tens of thousands were abducted, tortured, and disappeared, a group of women forged the Mothers of the Plaza de Mayo and changed Argentine politics forever. The Mothers began in the 1970s as an informal group of working-class housewives making the rounds of prisons and military barracks in search of their disappeared children. As they realized that both state and church officials were conspiring to withhold information, they started to protest, claiming the administrative center of Argentina the Plaza de Mayo for their center stage. In this volume, Marguerite G. Bouvard traces the history of the Mothers and examines how they have transformed maternity from a passive, domestic role to one of public strength. Bouvard also gives a detailed history of contemporary Argentina, including the military's debacle in the Falklands, the fall of the junta, and the efforts of subsequent governments to reach an accord with the Mothers. Finally, she examines their current agenda and their continuing struggle to bring the murderers of their children to justice.

    Plantation owners, shipbuilders, and merchants connected with the slave trade accumulated vast fortunes that established banks and heavy industry in Europe and expanded the reach of capitalism worldwide.Eric Williams advanced these powerful ideas in Capitalism and Slavery, published in 1944. Years ahead of its time, his profound critique became the foundation for studies of imperialism and economic development.Binding an economic view of history with strong moral argument, Williams's study of the role of slavery in financing the Industrial Revolution refuted traditional ideas of economic and moral progress and firmly established the centrality of the African slave trade in European economic development. He also showed that mature industrial capitalism in turn helped destroy the slave system. Establishing the exploitation of commercial capitalism and its link to racial attitudes, Williams employed a historicist vision that set the tone for future studies.In a new introduction, Colin Palmer assesses the lasting impact of Williams's groundbreaking work and analyzes the heated scholarly debates it generated when it first appeared.

    and the witches, hobgoblins and wizards of whom the masses lived in mortal fear.Michelet draws flaming word pictures of the witch hunts, the Black Masses, the reign of Satan, and the weird rites of the damned. Here is the age of unbridled pleasure and sensuality, of luxury beyond imagination and squalor beyond endurance. Here is the time when a girl might be accused of witchcraft merely if she were young and pretty and did not survive the test of immersion in water or boiling oil. Here is the day of beatings, floggings, tortures and summary decapitations.Encyclopedia Britannica called the book, "The most important work on medieval superstition yet written." It is indeed one of the great works on the Age of Darkness.

    He was also, as this volume demonstrates, a maniacal taxonomist. In this zoological guidebook to cuckoldry and commerce, Fourier offers a caustic critique of the bankruptcy of marriage and the prostitution of the economy, and the hypocrisies of a civilization that over-regulates sexual congress while allowing the financial sector to screw over the public. Gathered together here for the first time are Fourier's two "Hierarchies" --humorously regimented parades of civilization's cheaters and cheated-on in the domestic sphere of sex and the economic sphere of buying and selling commodities. "The Hierarchy of Cuckoldry" --translated into English for the first time--presents 72 species of the male cuckold, ranging from such "common class" cases as the Health-Conscious Cuckolds, to the short-horned Sympathetic, Optimist and Mystical Cuckolds, and the Long-horned varieties of the Irate, Disgraced and Posthumous Cuckolds. For Fourier, these amount to 72 manifestations of women's "secret insurrection" against the institution of marriage. "The Hierarchy of Bankruptcy" presents 36 species of the fraudulent bankrupt: a range of Light, Grandiose, and Contemptible shades of financial manipulators who force creditors, cities and even nations to bail them out of ultimately profitable bankruptcies. In these attacks on the morality of monogamy and the perils of laissez-faire capitalism, Fourier's "Hierarchies" resonate uncannily with our contemporary world.

    The computer programmer, the doctor, the artist, and even the parent and citizen all engage in a craftsman’s work. In this thought-provoking book, Sennett explores the work of craftsmen past and present, identifies deep connections between material consciousness and ethical values, and challenges received ideas about what constitutes good work in today’s world. The Craftsman engages the many dimensions of skill—from the technical demands to the obsessive energy required to do good work. Craftsmanship leads Sennett across time and space, from ancient Roman brickmakers to Renaissance goldsmiths to the printing presses of Enlightenment Paris and the factories of industrial London; in the modern world he explores what experiences of good work are shared by computer programmers, nurses and doctors, musicians, glassblowers, and cooks. Unique in the scope of his thinking, Sennett expands previous notions of crafts and craftsmen and apprises us of the surprising extent to which we can learn about ourselves through the labor of making physical things.

    Fukuyama sketches a brief history of man's changing understanding of human nature: from Plato and Aristotle to the modernity's utopians and dictators who sought to remake mankind for ideological ends. Fukuyama argues that the ability to manipulate the DNA of all of one person's descendants will have profound, and potentially terrible, consequences for our political order, even if undertaken with the best of intentions. In Our Posthuman Future, one of our greatest social philosophers begins to describe the potential effects of genetic exploration on the foundation of liberal democracy: the belief that human beings are equal by nature.

    This invasion of the world by what Marc Auge calls ‘non-space’ results in a profound alteration of awareness: something we perceive, but only in a partial and incoherent manner. Auge uses the concept of ‘supermodernity’ to describe the logic of these late-capitalist phenomena—a logic of excessive information and excessive space. In this fascinating and lucid essay he seeks to establish and intellectual armature for an anthropology of supermodernity. Starting with an attempt to disentangle anthropology from history, Auge goes on to map the distinction between place, encrusted with historical monuments and creative social life, and non-place, to which individuals are connected in a uniform manner and where no organic social life is possible.Unlike Baudelairean modernity, where old and new are interwoven, supermodernity is self-contained: from the motorway or aircraft, local or exotic particularities are presented two-dimensionally as a sort of theme-park spectacle. Auge does not suggest that supermodernity is all-encompassing: place still exist outside non-place and tend to reconstitute themselves inside it. But he argues powerfully that we are in transit through non-place for more and more of our time, as if between immense parentheses, and concludes that this new form of solitude should become the subject of an anthropology of its own.