Marxism and Form provided a pioneering account of the work of the major European Marxist theorists--T. W. Adorno, Walter Benjamin, Herbert Marcuse, Ernst Bloch, Georg Luk cs, and Jean-Paul Sartre--work that was, at the time, largely neglected in the English-speaking world. Through penetrating readings of each theorist, Jameson developed a critical mode of engagement that has had tremendous influence. He provided a framework for analyzing the connection between art and the historical circumstances of its making--in particular, how cultural artifacts distort, repress, or transform their circumstances through the abstractions of aesthetic form.Jameson's presentation of the critical thought of this Hegelian Marxism provided a stark alternative to the Anglo-American tradition of empiricism and humanism. It would later provide a compelling alternative to poststructuralism and deconstruction as they became dominant methodologies in aesthetic criticism.One year after Marxism and Form, Princeton published Jameson's "The Prison-House of Language" (1972), which provided a thorough historical and philosophical description of formalism and structuralism. Both books remain central to Jameson's main intellectual legacy: describing and extending a tradition of Western Marxism in cultural theory and literary interpretation.

    The work also constitutes an enduring critique of liberalism and socialism from the perspective of an extreme eccentric individualism. Stirner has latterly been portrayed variously as a precursor of Nietzsche, a forerunner of existentialism, an individualist anarchist, and as manifestly insane. This edition includes an Introduction placing Stirner in his historical context.

    First of this two-volume work providing an imaginative interpretation of the image of women in the collective unconscious of the fascist "warrior" through a study of the fantasies of the men centrally involved in the rise of Nazism.

    It lasted only 12. But those 12 years contained some of the most catastrophic events Western civilization has ever known.No other powerful empire ever bequeathed such mountains of evidence about its birth and destruction as the Third Reich. When the bitter war was over, and before the Nazis could destroy their files, the Allied demand for unconditional surrender produced an almost hour-by-hour record of the nightmare empire built by Adolph Hitler. This record included the testimony of Nazi leaders and of concentration camp inmates, the diaries of officials, transcripts of secret conferences, army orders, private letters—all the vast paperwork behind Hitler's drive to conquer the world.The famed foreign correspondent and historian William L. Shirer, who had watched and reported on the Nazis since 1925, spent five and a half years sifting through this massive documentation. The result is a monumental study that has been widely acclaimed as the definitive record of one of the most frightening chapters in the history of mankind.This worldwide bestseller has been acclaimed as the definitive book on Nazi Germany; it is a classic work.The accounts of how the United States got involved and how Hitler used Mussolini and Japan are astonishing, and the coverage of the war-from Germany's early successes to her eventual defeat-is must reading

    Siegfried Kracauer--a prominent German film critic and member of Walter Benjamin's and Theodor Adorno's intellectual circle--broke new ground in exploring the connections between film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer's pioneering book, which examines German history from 1921 to 1933 in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel, has never gone out of print. Now, over half a century after its first appearance, this beautifully designed and entirely new edition reintroduces Kracauer for the twenty-first century. Film scholar Leonardo Quaresima places Kracauer in context in a critical introduction, and updates the book further with a new bibliography, index, and list of inaccuracies that crept into the first edition. This volume is a must-have for the film historian, film theorist, or cinema enthusiast.In From Caligari to Hitler, Siegfried Kracauer made a startling (and still controversial) claim: films as a popular art provide insight into the unconscious motivations and fantasies of a nation. In films of the 1920s, he traced recurring visual and narrative tropes that expressed, he argued, a fear of chaos and a desire for order, even at the price of authoritarian rule. The book has become an undisputed classic of film historiography, laying the foundations for the serious study of film.Kracauer was an important film critic in Weimar Germany. A Jew, he escaped the rise of Nazism, fleeing to Paris in 1933. Later, in anguish after Benjamin's suicide, he made his way to New York, where he remained until his death in 1966. He wrote From Caligari to Hitler while working as a "special assistant" to the curator of the Museum of Modern Art's film division. He was also on the editorial board of Bollingen Series. Despite many critiques of its attempt to link movies to historical outcomes, From Caligari to Hitler remains Kracauer's best-known and most influential book, and a seminal work in the study of film. Princeton published a revised edition of his Theory of Film: The Redemption of Physical Reality in 1997.

    The result was the Critique of Dialectical Reason, an intellectual masterpiece of the twentieth century, now republished with a major original introduction by Fredric Jameson. In it, Sartre set out the basic categories for the renovated theory of history that he believed was necessary for post-war Marxism.Sartre’s formal aim was to establish the dialectical intelligibility of history itself, as what he called ‘a totalisation without a totaliser’. But, at the same time, his substantive concern was the structure of class struggle and the fate of mass movements of popular revolt, from the French Revolution at the end of the eighteenth century to the Russian and Chinese revolutions in the twentieth: their ascent, stabilisation, petrification and decline, in a world still overwhelmingly dominated by scarcity.

    His work traverses the fields of philosophy, psychoanalysis, theology, history and political theory, taking in film, popular culture, literature and jokes -- all to provide acute analyses of the complexities of contemporary ideology as well as a serious and sophisticated philosophy. His recent films The Pervert's Guide to the Cinema and Zizek reveal a theorist at the peak of his powers and a skilled communicator. Now Verso are making these four classic titles, that stand as the core of his ever-expanding life's work, available as new editions. Each is beautifully repackaged, including new introductions from Zizek himself. Simply put, they are the essential texts for understanding Zizek's thought and thus cornerstones of contemporary philosophy.

    Formulating the principles of dialectical materialism, they believed that labor creates wealth, hence capitalism is exploitive and antithetical to freedom.This new edition includes an extensive introduction by Gareth Stedman Jones, Britain's leading expert on Marx and Marxism, providing a complete course for students of The Communist Manifesto, and demonstrating not only the historical importance of the text, but also its place in the world today.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.

    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.

    

    He responded to and expanded upon Immanuel Kant's philosophy concerning the way in which we experience the world. His critique of Kant, his creative solutions to the problems of human experience and his explication of the limits of human knowledge are among his most important achievements. His metaphysical theory is the foundation of his influential writings on psychology, aesthetics, ethics, and politics which influenced Friedrich Nietzsche, Wagner, Ludwig Wittgenstein, Sigmund Freud and others. He said he was influenced by the Upanishads, Immanuel Kant, and Plato. References to Eastern philosophy and religion appear frequently in his writing. He appreciated the teachings of the Buddha and even called himself a Buddhaist. He said that his philosophy could not have been conceived before these teachings were available. He called himself a Kantian. He formulated a pessimistic philosophy that gained importance and support after the failure of the German and Austrian revolutions of 1848.

    In these conversations with Tariq Ali, recorded in Edward Said's Riverside Drive apartment in New York in June 1994, about a decade before he finally lost his battle with cancer, Said brings his considerable intellect and deep personal engagement to bear on some of the most troubling and volatile issues of our time as he ranges back over his own dislocated existence, his initiation into politics, his involvement with the Palestine cause, his approach to the study of culture and his pervasive love of literature and music. Intimate, personal, thought-provoking and absorbing, these conversations capture Said as political activist, cultural historian, professor of literature and music aficionado -- and confirm his position as one of the most passionate and thoughtful intellections of our time.

    Nazism was finished in the bunker in Berlin and its death warrant signed on the bench at Nuremberg.”   That’s Milton Mayer, writing in a foreword to the 1966 edition of They Thought They Were Free. He’s right about the critics: the book was a finalist for the National Book Award in 1956. General readers may have been slower to take notice, but over time they did—what we’ve seen over decades is that any time people, across the political spectrum, start to feel that freedom is threatened, the book experiences a ripple of word-of-mouth interest. And that interest has never been more prominent or potent than what we’ve seen in the past year.  They Thought They Were Free is an eloquent and provocative examination of the development of fascism in Germany. Mayer’s book is a study of ten Germans and their lives from 1933-45, based on interviews he conducted after the war when he lived in Germany. Mayer had a position as a research professor at the University of Frankfurt and lived in a nearby small Hessian town which he disguised with the name “Kronenberg.” “These ten men were not men of distinction,” Mayer noted, but they had been members of the Nazi Party; Mayer wanted to discover what had made them Nazis. His discussions with them of Nazism, the rise of the Reich, and mass complicity with evil became the backbone of this book, an indictment of the ordinary German that is all the more powerful for its refusal to let the rest of us pretend that our moment, our society, our country are fundamentally immune.   A new foreword to this edition by eminent historian of the Reich Richard J. Evans puts the book in historical and contemporary context. We live in an age of fervid politics and hyperbolic rhetoric. They Thought They Were Free cuts through that, revealing instead the slow, quiet accretions of change, complicity, and abdication of moral authority that quietly mark the rise of evil.

    The earliest essay in this book was written in September, 1914 and was followed by a stream of letters, essays, and pamphlets that reached its hight point with "Zarathustra's Return" (published anonymously in 1919, the year that also saw the publication of 'Demian'), in which Hesse exhorted German youth to shake off the false gods of nationalism and militarism that had led their country into the abyss. Such views earned him the labels 'traitor' and 'viper' in Germany, but after World War II he was moved to reiterate his beliefs in another series of essays and letters. Hesse arranged his anti-war writings for publication in one volume in 1946; an amplified edition appeared 1n 1949 and that text has been followed for this first Engish language Edition."

    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.