In these essays, Benjamin challenges the image of Baudelaire as late-Romantic dreamer, and evokes instead the modern poet caught in a life-or-death struggle with the forces of the urban commodity capitalism that had emerged in Paris around 1850. The Baudelaire who steps forth from these pages is the flAneur who affixes images as he strolls through mercantile Paris, the ragpicker who collects urban detritus only to turn it into poetry, the modern hero willing to be marked by modern life in its contradictions and paradoxes. He is in every instance the modern artist forced to commodify his literary production: "Baudelaire knew how it stood with the poet: as a flAneur he went to the market; to look it over, as he thought, but in reality to find a buyer." Benjamin reveals Baudelaire as a social poet of the very first rank.The introduction to this volume presents each of Benjamin's essays on Baudelaire in chronological order. The introduction, intended for an undergraduate audience, aims to articulate and analyze the major motifs and problems in these essays, and to reveal the relationship between the essays and Benjamin's other central statements on literature, its criticism, and its relation to the society that produces it.

    He challenges any single discourse on the erotic. The scope of his inquiry ranges from Emily Bronte to Sade, from St. Therese to Claude Levi-Strauss, and Dr. Kinsey; and the subjects he covers include prostitution, mythical ecstasy, cruelty, and organized war. Investigating desire prior to and extending beyond the realm of sexuality, he argues that eroticism is "a psychological quest not alien to death."

    True religion consists in practice of simple piety, independent of philosophical speculation.

    Published in early 1968, it both kindled and colored the May 1968 upheavals in France, which captured the attention of the world. Naming and defining the alienating features of everyday life in consumer society: survival rather than living in full, the call to sacrifice, the cultivation of false needs, the dictatorship of the commodity, subjection to social roles, and the replacement of God by the economy, the book argues that the countervailing impulses that exist within deep alienation - creativity, spontaneity, poetry present an authentic alternative to nilhilistic consumerism. This carefully edited new translation marks the first North American publication of this important work and includes a new preface by the author.

    In a new introduction, Steiner addresses language and philosophy and the rise of Nazism."It would be hard to imagine a better introduction to the work of philosopher Martin Heidegger."—George Kateb, The New Republic

    Written expressly for "anyone who believes there are big questions out there, but does not know how to approach them," Think provides a sound framework for exploring the most basic themes of philosophy, and for understanding how major philosophers have tackled the questions that have pressed themselves most forcefully on human consciousness.

    In The Future of the Image, Jacques Rancière develops a fascinating new concept of the image in contemporary art, showing how art and politics have always been intrinsically intertwined. Covering a range of art movements, filmmakers such as Godard and Bresson, and thinkers such as Foucault, Deleuze, Adorno, Barthes, Lyotard and Greenberg, Rancière shows that contemporary theorists of the image are suffering from religious tendencies.He argues that there is a stark political choice in art: it can either reinforce a radical democracy, or create a new reactionary mysticism. For Rancière there is never a pure art: the aesthetic revolution must always embrace egalitarian ideals.

    This remarkable "critique of critique" is introduced here without embellishment, cutting straight to the heart of the matter in a particularly clear and logical manner. It allows the destiny of thought to be the absolute once more."This work is one of the most important to appear in continental philosophy in recent years and deserves a wide readership at the earliest possible date ... Après la finitude is an important book of philosophy by an authnted emerging voices in continental thought. Quentin Meillassoux deserves our close attention in the years to come and his book deserves rapid translation and widespread discussion in the English-speaking world. There is nothing like it."—Graham Harman in Philosophy TodayThe exceptional lucidity and the centrality of argument in Meillassoux's writing should appeal to analytic as well as continental philosophers, while his critique of fideism will be of interest to anyone preoccupied by the relation between philosophy, theology and religion. Meillassoux introduces a startlingly novel philosophical alternative to the forced choice between dogmatism and critique. After Finitude proposes a new alliance between philosophy and science and calls for an unequivocal halt to the creeping return of religiosity in contemporary philosophical discourse.

    Contrary to popular Western notions of community, Nancy shows that it is neither a project of fusion nor production. Rather, he argues, community can be defined through the political nature of its resistance against immanent power.

    In addition to its importance to the history of ideas, this 1795 essay remains relevant to our own time.Beginning with a political analysis of contemporary society — in particular, the French Revolution and its failure to implement universal freedom — Schiller observes that people cannot transcend their circumstances without education. He conceives of art as the vehicle of education, one that can liberate individuals from the constraints and excesses of either pure nature or pure mind. Through aesthetic experience, he asserts, people can reconcile the inner antagonism between sense and intellect, nature and reason.Schiller’s proposal of art as fundamental to the development of society and the individual is an enduringly influential concept, and this volume offers his philosophy’s clearest, most vital expression.

    Influenced by works such as Don Juan, and the novels of Kafka, these essays begin with a meditation on suicide: the question of living or not living in an absurd universe devoid of order or meaning. With lyric eloquence, Camus posits a way out of despair, reaffirming the value of personal existence, and the possibility of life lived with dignity and authenticity.

    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.

    "Savoir," by Hélène Cixous, is a brief but densely layered account of her experience of recovered sight after a lifetime of severe myopia, an experience that ends with the unexpected turn of grieving for what is lost. Her literary inventiveness mines the coincidence in French between the two verbs savoir (to know) and voir (to see). Jacques Derrida's "A Silkworm of One's Own" complexly muses on a host of autobiographical, philosophical, and religious motifs—including his varied responses to "Savoir." The two texts are accompanied by six beautiful and evocative drawings that play on the theme of drapery over portions of the body.Veils suspends sexual difference between two homonyms: la voile (sail) and le voile (veil). A whole history of sexual difference is enveloped, sometimes dissimulated here—in the folds of sails and veils and in the turns, journeys, and returns of their metaphors and metonymies.However foreign to each other they may appear, however autonomous they may be, the two texts participate in a common genre: autobiography, confession, memoirs. The future also enters in: by opening to each other, the two discourses confide what is about to happen, the imminence of an event lacking any common measure with them or with anything else, an operation that restores sight and plunges into mourning the knowledge of the previous night, a "verdict" whose threatening secret remains out of reach by our knowledge.

    He argues that the only feasible explanations of scientific successes are historical explanations, and that anarchism must now replace rationalism in the theory of knowledge.

    Hadot's book demonstrates the extent to which philosophy has been, and still is, above all else a way of seeing and of being in the world.