November 22nd, 2009

Paul Gilroy seeks to awaken a new understanding of W. E. B. Du Bois' intellectual and political legacy. At a time of economic crisis, environmental degradation, ongoing warfare, and heated debate over human rights, how should we reassess the changing place of black culture?

Gilroy considers the ways that consumerism has diverted African Americans' political and social aspirations. Luxury goods and branded items, especially the automobile--rich in symbolic value and the promise of individual freedom--have restratified society, weakened citizenship, and diminished the collective spirit. Jazz, blues, soul, reggae, and hip hop are now seen as generically American, yet artists like Jimi Hendrix, Chuck Berry, and Bob Marley, who questioned the allure of mobility and speed, are not understood by people who have drained their music of its moral power.

Gilroy explores the way in which objects and technologies can become dynamic social forces, ensuring black culture's global reach while undermining the drive for equality and justice. Drawing on the work of a number of thinkers, including Michel Foucault, Hannah Arendt, Primo Levi, and Frantz Fanon, he examines the ethical dimensions of living in a society that celebrates the object. What are the implications for our notions of freedom?

With his brilliant, provocative analysis and astonishing range of reference, Gilroy revitalizes the study of African American culture. He traces the shifting character of black intellectual and social movements, and shows how we can construct an account of moral progress that reflects today's complex realities.

Historically, English-language readers have been great fans of European literature, and names like Franz Kafka, Gustave Flaubert, and Thomas Mann are so familiar we hardly think of them as foreign at all. What those writers brought to English-language literature was a wide variety of new ideas, styles, and ways of seeing the world. Yet times have changed, and how much do we even know about the richly diverse literature being written in Europe today? Best European Fiction 2010 is the inaugural installment of what will become an annual anthology of stories from across Europe. Edited by acclaimed Bosnian novelist and MacArthur "Genius-Award" winner Aleksandar Hemon, and with dozens of editorial, media, and programming partners in the U.S., UK, and Europe, the Best European Fiction series will be a window onto what's happening right now in literary scenes throughout Europe, where the next Kafka, Flaubert, or Mann is waiting to be discovered.

From Richard Pevear and Larissa Volokhonsky, the best-selling, award-winning translators of War and Peace and Anna Karenina, comes a new, beautifully crafted, and eminently readable translation of Tolstoy’s most important short fiction.

Here are eleven incandescent stories from the mature author, some autobiographical, others moral parables, and all imaginative, transcendent, and evocatively drawn. They include The Prisoner of the Caucasus, inspired by Tolstoy’s experiences as a soldier in the Chechen War, and one of only two of his works that Tolstoy himself considered “good art”; Hadji Murat, the novella Harold Bloom called “the best story in the world,” featuring the real-life war hero Hadji Murat, a Chechen rebel who ravaged his Russian occupiers only to defect to the Russian side after a falling-out with his own commander; The Devil, a tale of sexual obsession based on Tolstoy’s relationship with a married peasant woman on his estate in the years before his marriage; and the celebrated The Death of Ivan Ilyich, an intense and moving examination of death and the possibilities of redemption.

Pevear and Volokhonsky’s translation captures the richness, immediacy, and multiplicity of Tolstoy’s language, and reveals the author as a passionate moral guide, an unflinching seeker of truth, and, ultimately, a creator of enduring and universal art.

"Machiavelli's Ethics" challenges the most entrenched understandings of Machiavelli, arguing that he was a moral and political philosopher who consistently favored the rule of law over that of men, that he had a coherent theory of justice, and that he did not defend the "Machiavellian" maxim that the ends justify the means. By carefully reconstructing the principled foundations of his political theory, Erica Benner gives the most complete account yet of Machiavelli's thought. She argues that his difficult and puzzling style of writing owes far more to ancient Greek sources than is usually recognized, as does his chief aim: to teach readers not how to produce deceptive political appearances and rhetoric, but how to see through them. Drawing on a close reading of Greek authors--including Thucydides, Xenophon, Plato, and Plutarch--Benner identifies a powerful and neglected key to understanding Machiavelli.

This important new interpretation is based on the most comprehensive study of Machiavelli's writings to date, including a detailed examination of all of his major works: "The Prince, The Discourses, The Art of War, " and "Florentine Histories." It helps explain why readers such as Bacon and Rousseau could see Machiavelli as a fellow moral philosopher, and how they could view "The Prince" as an ethical and republican text. By identifying a rigorous structure of principles behind Machiavelli's historical examples, the book should also open up fresh debates about his relationship to later philosophers, including Rousseau, Hobbes, and Kant.

The ancient doctrine of negative theology or apophasisathe attempt to describe God by speaking only of what cannot be said about the divine perfection and goodnessahas taken on new life in the concern with language and its limits that preoccupies much postmodern philosophy, theology, and related disciplines. How does this mystical tradition intersect with the concern with material bodies that is simultaneously a focus in these areas? This volume pursues the unlikely conjunction of apophasis and the body, not for the cachet of the acutting edgea but rather out of an ethical passion for the integrity of all creaturely bodies as they are caughtup in various ideological mechanismsareligious, theological, political, economicathat threaten their dignity and material well-being. The contributors, a diverse collection of scholars in theology, philosophy, history, and biblical studies, rethink the relationship between the concrete tradition of negative theology and apophatic discourses widely construed. They further endeavor to link these to the theological theme of incarnation and more general issues of embodiment, sexuality, and cosmology. Along the way, they engage and deploy the resources of contextual and liberation theology, post-structuralism, postcolonialism, process thought, and feminism.The result not only recasts the nature and possibilities of theological discourse but explores the possibilities of academic discussion across and beyond disciplines in concrete engagement with the well-being of bodies, both organic and inorganic. The volume interrogates the complex capacities of religious discourse both to threaten and positively to draw upon the material well-being of creation.

Although Theodor W. Adorno is best known for his association with the Frankfurt School of Critical Theory, he began his career as a composer and successful music critic. "Night Music" presents the first complete English translations of two collections of texts compiled by German philosopher and musicologist Adorno--"Moments musicaux," containing essays written between 1928 and 1962, and "Theory of New Music," a group of texts written between 1929 and 1955. In "Moments musicaux," Adorno echoes Schubert's eponymous cycle, with its emphasis on aphorism, and offers lyrical reflections on music of the past and his own time. The essays include extended aesthetic analyses that demonstrate Adorno's aim to apply high philosophical standards to the study of music. "Theory of New Music," as its title indicates, presents Adorno's thoughts and theories on the composition, reception, and analysis of the music that was being written around him. His extensive philosophical writing ultimately prevented him from pursuing the compositional career he had once envisaged, but his view of the modern music of the time is not simply that of a theorist, but clearly also that of a composer. Though his advocacy of the Second Viennese School, comprising composer Arnold Schoenberg and his pupils, is well known, many of his writings in this field have remained obscure. Collected in their entirety for the first time in English, the insightful texts in "Night Music "show the breadth of Adorno's musical understanding and reveal an overlooked side to this significant thinker.

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The Left at War (Hardcover)
By Michael Berube
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The terrorist attacks of 9/11 and Bushas belligerent response fractured the American left--partly by putting pressure on little-noticed fissures that had appeared a decade earlier.

In a masterful survey of the post-9/11 landscape, renowned scholar Michael Berube revisits and reinterprets the major intellectual debates and key players of the last two decades, covering the terrain of left debates in the United States over foreign policy from the Balkans to 9/11 to Iraq, and over domestic policy from the culture wars of the 1990s to the question of what (if anything) is the matter with Kansas.

The Left at War brings the history of cultural studies to bear on the present crisis--a history now trivialized to the point at which few left intellectuals have any sense that merely "cultural" studies could have something substantial to offer to the world of international relations, debates over sovereignty and humanitarian intervention, matters of war and peace. The surprising results of Berubeas arguments reveal an American left that is overly fond of a form of "countercultural" politics in which popular success is understood as a sign of political failure and political marginality is understood as a sign of moral virtue. The Left at War insists that, in contrast to American countercultural traditions, the geopolitical history of cultural studies has much to teach us about internationalism--for "in order to think globally, we need to think culturally, and in order to understand cultural conflict, we need to think globally." At a time when America finds itself at a critical crossroads, The Left at War is an indispensable guide to the divisions that have created a left at war with itself.
Product Details ISBN-10: 0814799841
ISBN-13: 9780814799840
Published: New York University Press, 11/01/2009
Pages: 352
Language: English

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* Military - United States
* Political Ideologies - Conservatism & Liberalism

Ten superb new stories by one of our most beloved and admired writers—the winner of the 2009 Man Booker International Prize.

In the first story a young wife and mother receives release from the unbearable pain of losing her three children from a most surprising source. In another, a young woman, in the aftermath of an unusual and humiliating seduction, reacts in a clever if less-than-admirable fashion. Other stories uncover the “deep-holes” in a marriage, the unsuspected cruelty of children, and how a boy’s disfigured face provides both the good things in his life and the bad. And in the long title story, we accompany Sophia Kovalevsky—a late-nineteenth-century Russian émigré and mathematician—on a winter journey that takes her from the Riviera, where she visits her lover, to Paris, Germany, and, Denmark, where she has a fateful meeting with a local doctor, and finally to Sweden, where she teaches at the only university in Europe willing to employ a female mathematician.

With clarity and ease, Alice Munro once again renders complex, difficult events and emotions into stories that shed light on the unpredictable ways in which men and women accommodate and often transcend what happens in their lives.

Too Much Happiness is a compelling, provocative—even daring—collection

Since the 1950s, anthropologist Sidney W. Mintz has been at the forefront of efforts to integrate the disciplines of anthropology and history. Author of "Sweetness and Power: The Place of Sugar in Modern History" and other groundbreaking works, he was one of the first scholars to anticipate "globalization studies." Yet a strong tradition of epistemologically sophisticated and theoretically informed empiricism of the sort advanced by Mintz has yet to become a cornerstone of contemporary anthropological scholarship. This collection of essays by leading anthropologists and historians serves as an intervention that rests on Mintzas rigorously historicist ethnographic work, which has long predicted the methodological crisis in anthropology today.
Contributors to this volume build on Mintzean interdisciplinarity to provide productive ways to theorize the everyday life of local groups and communities, nation-states, and regions and the interconnections among them. Consisting of theoretical and case studies of Latin America, North America, the Caribbean, and Papua New Guinea, "Empirical Futures" demonstrates how a Mintzean approach advances the study of culture, power, and identity.
The contributors are George Baca, Frederick Cooper, Virginia R. Dominguez, Frederick Errington, Deborah Gewertz, Juan Giusti-Cordero, Aisha Khan, Samuel MartA-nez, Stephan PalmiA(c), Jane Schneider, and Rebecca J. Scott. The editors are George Baca, Aisha Khan, and Stephan PalmiA(c).
Contributors:
George Baca, Goucher College
Frederick Cooper, New York University
Virginia R. Dominguez, University of Illinois
Frederick Errington, Trinity College
Deborah Gewertz, Amherst College
Juan Giusti-Cordero, University of Puerto Rico at Rio Piedras
Aisha Khan, New York University
Samuel MartA-nez, University of Connecticut
Stephan Palmie, University of Chicago
Jane Schneider, City University of New York Graduate Center
Rebecca J. Scott, University of Michigan

The story of the black freedom struggle in America has been overwhelmingly male-centric, starring leaders like Martin Luther King, Jr., Malcolm X, and Huey Newton. With few exceptions, black women have been perceived as supporting actresses; as behind-the-scenes or peripheral activists, or rank and file party members. But what about Vicki Garvin, a Brooklyn-born activist who became a leader of the National Negro Labor Council and guide to Malcolm X on his travels through Africa? What about Shirley Chisholm, the first black Congresswoman?

From Rosa Parks and Esther Cooper Jackson, to Shirley Graham DuBois and Assata Shakur, a host of women demonstrated a lifelong commitment to radical change, embracing multiple roles to sustain the movement, founding numerous groups and mentoring younger activists. Helping to create the groundwork and continuity for the movement by operating as local organizers, international mobilizers, and charismatic leaders, the stories of the women profiled in Want to Start a Revolution? help shatter the pervasive and imbalanced image of women on the sidelines of the black freedom struggle.

Contributors: Margo Natalie Crawford, Prudence Cumberbatch, Johanna Fernandez, Diane C. Fujino, Dayo F. Gore, Joshua Guild, Gerald Horne, Ericka Huggins, Angela D. LeBlanc-Ernest, Joy James, Erik McDuffie, Premilla Nadasen, Sherie M. Randolph, James Smethurst, Margaret Stevens, and Jeanne Theoharis.

This first English translation of Logik als die Frage nach dem Wesen der Sprache, volume 38 of Martin Heidegger's Gesamtausgabe, contains novel ideas on logic and language that are important for anyone wishing to think beyond traditional views of language and logic. Based on student transcripts of Heidegger's lectures and manuscripts for a 1934 summer course, the work contains his first public reflection on the nature of language itself. Given shortly after Heidegger's resignation to the rectorship of the University of Freiburg, the course also opens up fresh perspectives into his controversial involvement with the Nazi regime. Heidegger's critical probing of logic involves metaphysics and poetry and intertwines essential questions concerning language as a world-forming power, the human being, history, and time. This work marks a milestone in Heidegger's path of thinking as his first meditation on language as a primal event of being.

Though many of the details of Jewish life under Hitler are familiar, historical accounts rarely afford us a real sense of what it was like for Jews and their families to live in the shadow of Nazi Germany's oppressive racial laws and growing violence. With "Jews in Nazi Berlin," those individual lives--and the constant struggle they required--come fully into focus, and the result is an unprecedented and deeply moving portrait of a people. Drawing on a remarkably rich archive that includes photographs, objects, official documents, and personal papers, the editors of "Jews in Nazi Berlin" have assembled a multifaceted picture of Jewish daily life in the Nazi capital during the height of the regime's power. The book's essays and images are divided into thematic sections, each representing a different aspect of the experience of Jews in Berlin, covering such topics as emigration, the yellow star, Zionism, deportation, betrayal, survival, and more. To supplement--and, importantly, to humanize--the comprehensive documentary evidence, the editors draw on an extensive series of interviews with survivors of the Nazi persecution, who present gripping first-person accounts of the innovation, subterfuge, resilience, and luck required to negotiate the increasing brutality of the regime. A stunning reconstruction of a storied community as it faced destruction, "Jews in Nazi Berlin" renders that loss with a startling immediacy that will make it an essential part of our continuing attempts to understand World War II and the Holocaust.

During the second half of the twentieth century, the Arab intellectual and political scene polarized between a search for totalizing doctrines-nationalist, Marxist, and religious-and radical critique. Arab thinkers were reacting to the disenchanting experience of postindependence Arab states, as well as to authoritarianism, intolerance, and failed development. They were also responding to successive defeats by Israel, humiliation, and injustice. The first book to take stock of these critical responses, this volume illuminates the relationship between cultural and political critique in the work of major Arab thinkers, and it connects Arab debates on cultural malaise, identity, and authenticity to the postcolonial issues of Latin America and Africa, revealing the shared struggles of different regions and various Arab concerns.

Why is the brain divided? The difference between right and left hemispheres has been puzzled over for centuries. In a book of unprecedented scope, Iain McGilchrist draws on a vast body of recent brain research, illustrated with case histories, to reveal that the difference is profound--not just this or that function, but two whole, coherent, but incompatible ways of experiencing the world. The left hemisphere is detail oriented, prefers mechanisms to living things, and is inclined to self-interest, where the right hemisphere has greater breadth, flexibility, and generosity. This division helps explain the origins of music and language, and casts new light on the history of philosophy, as well as on some mental illnesses. In the second part of the book, McGilchrist takes the reader on a journey through the history of Western culture, illustrating the tension between these two worlds as revealed in the thought and belief of thinkers and artists, from Aeschylus to Magritte. He argues that, despite its inferior grasp of reality, the left hemisphere is increasingly taking precedence in the modern world, with potentially disastrous consequences. This is truly a tour de force that should excite interest in a wide readership.

Heroes and heroines in antiquity inhabited a space somewhere between gods and humans. In this detailed, yet brilliantly wide-ranging analysis, Christopher Jones starts from literary heroes such as Achilles and moves to the historical record of those exceptional men and women who were worshiped after death. He asks why and how mortals were heroized, and what exactly becoming a hero entailed in terms of religious action and belief. He proves that the growing popularity of heroizing the dead--fallen warriors, family members, magnanimous citizens--represents not a decline from earlier practice but an adaptation to new contexts and modes of thought. The most famous example of this process is Hadrian's beloved, Antinoos, who can now be located within an ancient tradition of heroizing extraordinary youths who died prematurely. This book, wholly new and beautifully written, rescues the hero from literary metaphor and vividly restores heroism to the reality of ancient life.

"Robert Fogelin is absolutely right to take Wittgenstein's methodological statements seriously and to focus on the primary texts rather than to be guided by fashionable interpretations. Fogelin's reading is perceptive and sensible, the key concepts around which he organizes his interpretation are judiciously chosen, and the book is clearly written."--Severin Schroeder, Reading University

Raymond Carver was the most beloved American short-story writer of the late twentieth century. Two decades after his death, this definitive biography tells the story of Carver's uncanny ambition, legendary life, and enduring work.

When Raymond Carver died at age fifty, readers lost a distinctive voice in its prime. Carver was, the Times of London said, "the Chekhov of middle America." His influence on a generation of writers and on the short story itself has been widely noted. Not so generally known are how Carver became a writer, how he suffered to achieve his art, and how his trou-bled and remarkable personality affected those around him.

Carol Sklenicka's meticulous and absorbing biography re-creates Carver's early years in Yakima, Washington, where he was the nervous, overweight son of a kindly, alcohol-dependent lumbermill worker. By the time he was nineteen, Ray had married his high school sweetheart, Maryann Burk. From a basement apartment where they were raising their first child and expecting their second, they determined that Ray would become a writer. Despite the handicaps of an erratic education and utter lack of financial resources, he succeeded.

Maryann's belief in Carver's talent was unshakable, as was her willingness to support the family and see her experiences transformed in his fiction. Sklenicka reveals the entwined histories of this passionate, volatile marriage and Carver's career. She describes his entry into the literary world via "little magazines" and the Iowa Writers' Workshop; his publication by Esquire editor Gordon Lish and their ensuing relationship; his near-fatal alcoholism, which worsened even as he produced many of the unforgettable stories collected in Will You Please Be Quiet, Please? and What We Talk About When We Talk About Love. The biography also depicts Carver's warmhearted friendships with scores of writers, including Richard Ford, Tobias Wolff, John Gardner, Joy Williams, Al Young, William Kittredge, Leonard Michaels, Chuck Kinder, and Hayden Carruth. Sklenicka shows how his stories about unemployment, drinking, marital trauma, divorce, troubled children, and suburban malaise, dubbed "minimalist" by critics, won readers with their precise and humane portrayal of ordinary lives. She examines the dissolution of his first marriage and his partnership with poet Tess Gallagher, who helped him enjoy the full measure of his success. Ever grateful that he'd been able to renounce alcohol, Carver shunned pity and considered himself a "lucky man" as he faced death from lung cancer in 1988.

Carol Sklenicka draws on hundreds of interviews with people who knew Carver, prodigious research in libraries and private collections, and all of Carver's poems and stories for Raymond Carver, which took ten years to write. Her portrait is generous and wise without swerving from discordant issues in Carver's private affairs. Above all Sklenicka shows how Carver's quintessentially American life fostered the stories that knowing readers have cherished from their first publication until the present day.

Best-selling author and philosopher Umberto Eco is currently resident at the Louvre, and his chosen theme of study is "the vertigo of lists." Reflecting on this enormous trove of human achievements, in his lyrical intellectual style he has embarked on an investigation of the phenomenon of cataloging and collecting. This book, featuring lavish reproductions of artworks from the Louvre and other world-famous collections, is a philosophical and artistic sequel to Eco’s recent acclaimed books, History of Beauty and On Ugliness, books in which he delved into the psychology, philosophy, history, and art of human forms. Eco is a modern-day Diderot, and here he examines the Western mind’s predilection for list-making and the encyclopedic. His central thesis is that in Western culture a passion for accumulation is recurring: lists of saints, catalogues of plants, collections of art. This impulse has recurred through the ages from music to literature to art. Eco refers to this obsession itself as a "giddiness of lists" but shows how in the right hands it can be a "poetics of catalogues." From medieval reliquaries to Andy Warhol’s compulsive collecting, Umberto Eco reflects in his inimitably inspiring way on how such catalogues mirror the spirit of their times.

A runaway at thirteen, a reform-school graduate at sixteen, a performer in the legendary New York City Playhouse of the Ridiculous at seventeen, and an escapee from Andy Warhol's Factory scene at nineteen, Penny Arcade (born Susanna Ventura) emerged in the 1980s as a primal force on the New York art scene and an originator of what came to be called performance art. Arcade's brand of high camp and street-smart, punk-rock cabaret showmanship has been winning over international audiences ever since. This autobiographical trilogy of plays represents her at her best. "Bitch Dyke Faghag Whore " is Penny Arcade's raucous, cutting-edge sex and censorship show (which continues to be a commercial hit around the world), featuring the daily life of a receptionist in a brothel, the upbringing and rearing of a "faghag," the evolution of the New York gay scene in the 1990s, and a participatory "audience dance break." The funny and heart-rending title work, "Bad Reputation, " portrays a young teen runaway's coming of age in a Catholic reform school (run by nuns who are former fashion models) and her subsequent life on the streets of 1960s New York. "La Miseria, " a rare depiction of working-class Italian-Americans from a woman's point of view that portrays the clash between working-class morals and compassion during the 1980s AIDS epidemic, rounds out the trilogy. "Bad Reputation" is the first book by and on Penny Arcade. The complete scripts are accompanied by a new interview with Penny Arcade by Chris Kraus, a range of archival photographs of the East Village scene and Arcade's performances, an introduction by playwright Ken Bernard, and contributions by Sarah Schulman, Steve Zehentner, and Stephen Bottoms. "Native Agents series" "Distributed for Semiotext(e)"

An analysis of Israeli power in the Occupied Palestinian Territories, with essays by leading Palestinian and Israeli scholars, a comprehensive chronology, photographs, and original documents.

They are the World’s Greatest Super-Heroes. But the members of the fabled Justice League of America are about to learn they aren't the only ones who can band together toward a common goal. The deadliest criminal masterminds of our time appear to be acting in concert — with a surprising plan that seeks to achieve more good than the JLA ever could!

But it’s just the latest attempt at world domination — and our heroes strive to expose the truth, to fight…for JUSTICE!

DC's pantheon of heroes is reimagined by fan-favorite painter Alex Ross (KINGDOM COME, Marvels) and writer Jim Krueger (Earth X, Universe X), with pencil art by Doug Braithwaite (Paradise X) painted by Ross. This ultimate slipcased Absolute edition contains all twelve issues of the best-selling maxiseries, plus expansive character bios, developmental sketches, pencil art, bonus covers, DC Direct gallery, and much more!