This book, as defined in his preface, "is about the response of the English literary intelligentsia to the new phenomenon of mass culture." Readers may be shocked to learn that H.G. Wells liked to think that this newly emerged "mass" would be eliminated by plague and atomic bombs; that Yeats wished them to perish in an apocalyptic war against the educated classes and that D.H. Lawrence visualized a huge lethal chamber in which they could be exterminated.John Carey's devastating attack on the intellectuals exposes the loathing which the mass of humanity ignited in many of the virtual founders of modern culture: G.B. Shaw, Ezra Pound, James Joyce, E.M. Forster, Virginia Woolf, T.S. Eliot and others. Professor Carey compares their detestation of common humanity to Nietzsche, whose philosophy helped create the atmosphere leading to the rise of Adolph Hitler. Any student of modern literature and history will find John Carey's incisive book both enlightening and disturbing, an essential read for a full understanding of where we are today.

    These culminated in What is Art?, published in 1898. Although Tolstoy perceived the question of art to be a religious one, he considered & rejected the idea that art reveals & reinvents through beauty. The works of Dante, Michelangelo, Shakespeare, Beethoven, Baudelaire & even his own novels are condemned in the course of Tolstoy's impassioned & iconoclastic redefinition of art as a force for good, for the improvement of humankind.

    “It is guilty and should admit itself so.” The word, the flesh, and the devil are explored by this extraordinary intellect in the work of eight outstanding authors: Emily Bronte, Baudelaire, Blake, Michelet, Kafka, Proust, Genet and De Sade.Born in France in 1897, Georges Bataille was a radical philosopher, novelist, and critic whose writings continue to exert a vital influence on today's literature and thought.

    She invites us behind the scenes of novel-writing, sharing her own habits and spilling the secrets of her craft. And she offers priceless advice to aspiring authors. As she works her way through one hundred novels–from classics such as the thousand-year-old Tale of Genji to recent fiction by Zadie Smith and Alice Munro–she infects us anew with the passion for reading that is the governing spirit of this gift to book lovers everywhere.

    This new and expanded third edition continues to offer students and readers the best one-volume introduction to the field.The bewildering variety of approaches, theorists and technical language is lucidly and expertly unraveled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

    While paintings of Picasso and Jackson Pollock sell for a hundred million dollars or more, and lines from T. S. Eliot are quoted on the yearbook pages of alienated teenagers across the land, twentieth-century classical music still sends ripples of unease through audiences. At the same time, its influence can be felt everywhere. Atonal chords crop up in jazz. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalism has had a huge effect on rock, pop, and dance music from the Velvet Underground onward.The Rest Is Noise shows why twentieth-century composers felt compelled to create a famously bewildering variety of sounds, from the purest beauty to the purest noise. It tells of a remarkable array of maverick personalities who resisted the cult of the classical past, struggled against the indifference of a wide public, and defied the will of dictators. Whether they have charmed audiences with sweet sounds or battered them with dissonance, composers have always been exuberantly of the present, defying the stereotype of classical music as a dying art. The narrative goes from Vienna before the First World War to Paris in the twenties, from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies. We follow the rise of mass culture and mass politics, of dramatic new technologies, of hot and cold wars, of experiments, revolutions, riots, and friendships forged and broken. The end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.

    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.

    Kandel, The Age of Insight takes us to Vienna 1900, where leaders in science, medicine, and art began a revolution that changed forever how we think about the human mind—our conscious and unconscious thoughts and emotions—and how mind and brain relate to art.   At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today.   The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women’s unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death.   Kandel tells the story of how these pioneers—Freud, Schnitzler, Klimt, Kokoschka, and Schiele—inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today’s cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history.

    Hebdige [...] is concerned with the UK's postwar, music-centred, white working-class subcultures, from teddy boys to mods and rockers to skinheads and punks.' - Rolling StoneWith enviable precision and wit Hebdige has addressed himself to a complex topic - the meanings behind the fashionable exteriors of working-class youth subcultures - approaching them with a sophisticated theoretical apparatus that combines semiotics, the sociology of devience and Marxism and come up with a very stimulating short book - Time OutThis book is an attempt to subject the various youth-protest movements of Britain in the last 15 years to the sort of Marxist, structuralist, semiotic analytical techniques propagated by, above all, Roland Barthes. The book is recommended whole-heartedly to anyone who would like fresh ideas about some of the most stimulating music of the rock era - The New York Times

    His fascination with myth is evident in pieces on Ovid's Metamorphoses and the separate odysseys that make up Homer's Odyssey. Three intertwined essays on French utopian socialist Fourier present him as a precursor of Women's Lib, a satirist and visionary thinker whose scheme for a society in which each person's desires could be satisfied deserves to be taken seriously. In other pieces, Calvino brings a fresh, unpredictable approach to why we should reread the classics, how cinema and comic strips influence writers, and the cartoon universe of Saul Steinberg. His message is that writers need to establish erotic communion with the humdrum objects of everyday reality.

    Ong offers fascinating insights into oral genres across the globe and through time, and examines the rise of abstract philosophical and scientific thinking. He considers the impact of orality-literacy studies not only on literary criticism and theory but on our very understanding of what it is to be a human being, conscious of self and other.This is a book no reader, writer or speaker should be without.

    In The Dialectics of Seeing, Susan Buck-Morss offers an inventive reconstruction of the Passagen Werk, or Arcades Project, as it might have taken form. Working with Benjamin's vast files of citations and commentary which contain a myriad of historical details from the dawn of consumer culture, Buck-Morss makes visible the conceptual structure that gives these fragments philosophical coherence. She uses images throughout the book to demonstrate that Benjamin took the debris of mass culture seriously as the source of philosophical truth. The Paris Arcades that so fascinated Benjamin (as they did the Surrealists whose materialist metaphysics he admired) were the prototype, the 19th century ur-form of the modern shopping mall. Benjamin's dialectics of seeing demonstrate how to read these consumer dream houses and so many other material objects of the time--from air balloons to women's fashions, from Baudelaire's poetry to Grandville's cartoons--as anticipations of social utopia and, simultaneously, as clues for a radical political critique. Buck-Morss plots Benjamin's intellectual orientation on axes running east and west, north and south--Moscow Paris, Berlin-Naples--and shows how such thinking in coordinates can explain his understanding of dialectics at a standstill. She argues for the continuing relevance of Benjamin's insights but then allows a set of afterimages to have the last word.

    M. Forster's Aspects of the Novel and Milan Kundera's The Art of the Novel, How Fiction Works is a scintillating study of the magic of fiction--an analysis of its main elements and a celebration of its lasting power. Here one of the most prominent and stylish critics of our time looks into the machinery of storytelling to ask some fundamental questions: What do we mean when we say we "know" a fictional character? What constitutes a telling detail? When is a metaphor successful? Is Realism realistic? Why do some literary conventions become dated while others stay fresh?James Wood ranges widely, from Homer to Make Way for Ducklings, from the Bible to John le Carré, and his book is both a study of the techniques of fiction-making and an alternative history of the novel. Playful and profound, How Fiction Works will be enlightening to writers, readers, and anyone else interested in what happens on the page.

    In a series of coruscating set pieces, Greif asks why we put ourselves through the pains of exercise, what shopping in organic supermarkets does for our sense of self-worth, what the political identity of the hipster might be, and what happens to us when we listen to too much Radiohead. From such counter-intuitive observations, Greif exposes the fundamental contradictions between our actions, desires and the excuses that we make to ourselves in hope of consolation. With the wit and seriousness of David Foster Wallace, Against Everything is the most thought-provoking study and essential guide to everyday life under 21st-century capitalism.

    Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burrows, Kermode shows how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit. Kermode then discusses literature at a time when new fictive explanations, as used by Spenser and Shakespeare, were being devised to fit a world of uncertain beginning and end. He goes on to deal perceptively with modern literaturewith "traditionalists" such as Yeats, Eliot, and Joyce, as well as contemporary "schismatics," the French "new novelists," and such seminal figures as Jean-Paul Sartre and Samuel Beckett. Whether weighing the difference between modern and earlier modes of apocalyptic thought, considering the degeneration of fiction into myth, or commenting on the vogue of the Absurd, Kermode is distinctly lucid, persuasive, witty, and prodigal of ideas.