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Children’s literature has spent decades on the psychiatrist’s couch, submitting to psychoanalysis by scores of scholars and popular writers alike. Freud in Oz turns the tables, suggesting that psychoanalysts owe a significant and largely unacknowledged debt to books ostensibly written for children. In fact, Kenneth B. Kidd argues, children’s literature and psychoanalysis have influenced and interacted with each other since Freud published his first case studies.In Freud in Oz, Kidd shows how psychoanalysis developed in part through its engagement with children’s literature, which it used to articulate and dramatize its themes and methods, turning first to folklore and fairy tales, then to materials from psychoanalysis of children, and thence to children’s literary texts, especially such classic fantasies as Peter Pan and Alice’s Adventures in Wonderland. He traces how children’s literature, and critical response to it, aided the popularization of psychoanalytic theory. With increasing acceptance of psychoanalysis came two new genres of children’s literature—known today as picture books and young adult novels—that were frequently fashioned as psychological in their forms and functions.Freud in Oz offers a history of reigning theories in the study of children’s literature and psychoanalysis, providing fresh insights on a diversity of topics, including the view that Maurice Sendak and Bruno Bettelheim can be thought of as rivals, that Sendak’s makeover of monstrosity helped lead to the likes of the Muppets, and that “Poohology” is its own kind of literary criticism—serving up Winnie the Pooh as the poster bear for theorists of widely varying stripes.

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As improvements in living conditions and advances in modern medicine lead to increased life expectancy and the number of older adults world-wide continues to grow, so the number of older individuals with cardiac and cerebrovascular disease is rising. Over eighty per cent of all cardiovascular disease-related deaths now occur in patients aged sixty five or older. The high prevalence of co-morbidities, frailty and cognitive decline amongst older patients requires that a holistic approach to the management of cardiovascular disease is required. Written and edited by leading experts in the field, ‘Cardiovascular diseases and health in the older patient’ provides scholarly evidence and data which explain why treating an older patient with cardiovascular disease is often different from treating a young or middle-aged patient with the same disease. The chapters have been updated and expanded from the cardiovascular section of the renowned ‘Pathy’s Principles and Practice of Geriatric Medicine’, edited by Alan J. Sinclair, John E. Morley and Bruno Vellas. The revised chapters contain updated evidence and references to recent clinical practice guidelines in Europe and North America, this book provides complete, authoritative information on this major cause of death, poor health and disability in old age. Covering the epidemiology, pathophysiology and management of cardiovascular disease in the older patient, the book is an excellent reference at all clinical and pre-clinical levels and will appeal particularly to geriatricians, cardiologists, and GPs, as well as cardiac specialist nurses and practice nurses. With a Foreword by Stuart M. Cobbe.

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One of the most enduring and pervasive myths about modernist architecture is that it was white—pure white walls both inside and out. Yet nothing could be further from the truth. The Color of Modernism explodes this myth of whiteness by offering a riot of color in modern architectural treatises, polemics, and buildings. Focusing on Germany in the early 20th century, one of modernism’s most foundational and influential periods, it examines the different scientific and artistic color theories which were advanced by members of the German avant-garde, from Bruno Taut to Walter Gropius to Hans Scharoun. German color theory went on to have a profound influence on the modern movement, and Germany serves as the key case study for an international phenomenon which encompassed modern architects worldwide from le Corbusier and Alvar Aalto to Berthold Lubetkin and Lina Bo Bardi. Supported by accessible introductions to the development of color theory in philosophy, science and the arts, the book uses the German case to explore the new ways in which color was used in architecture and urban design, turning attention to an important yet overlooked aspect of the period. Much more than a mere correction to the historical record, the book leads the reader on an adventure into the color-filled worlds of psychology, the paranormal, theories of sensory perception, and pleasure, showing how each in turn influenced the modern movement. The Color of Modernism will fundamentally change the way the early modernist period is seen and discussed.

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A vivid and human glimpse into Europe's borderlands as they emerged from Soviet rule - back in print after nearly 20 years'In this superb book, in which one senses the spirit of Franz Kafka and Bruno Schulz, the dramatic world of the Eastern borderlands comes to life' Ryszard KapuscinskiAs Europe's borderlands emerged from Soviet rule, Anne Applebaum travelled from the Baltic to the Black Sea, through Lithuania, Belarus, Ukraine and the Carpathian mountains. Rich in vivid characters and stories of tragedy and survival, Between East and West illuminates the soul of a place, and the secret history of its people. 'A beautifully written and thought-provoking account of a journey along Europe's forgotten edge' Timothy Garton Ash'A vivid and penetrating assessment of the lands between the Baltic and the Black Sea in all their drama and desolation . . . a wise and useful book' Robert Conquest'Combines the excitement of a well-written and adventurous travelogue with sophisticated reportage' Norman Davies'You will be totally absorbed' Norman StoneAnne Applebaum is a historian and journalist, a regular columnist for the Washington Post and Slate, and the author of several books, including Gulag: A History, which won the 2004 Pulitzer Prize for non-fiction, and Iron Curtain, which in 2013 won the Duke of Westminster Medal for Military Literature and the Cundill Prize in Historical Literature. She is the Director of Political Studies at the Legatum Institute in London, and she divides her time between Britain and Poland, where her husband, Radek Sikorski, serves as Foreign Minister.

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This new, sophisticated, comprehensive reference book will inspire and instruct painters on how to handle today's acrylics in innovative and individualistic ways. Acrylics have grown into the most adaptable art material for the modern age. Developments in the pigment industry have given acrylics a remarkably permanent, rich, and abundant palette, making it the favorite medium of many contemporary artists. As colors are being developed, their chemical components are also enhanced for better texture and handling. Art-supplies vendors now offer acrylic mediums for thinning, thickening, glazing, molding, pouring, texturing, and dozens of other uses. Even experienced acrylic painters can be confused - even intimidated - by this staggering diversity of products. Painter and art materials expert Rhéni Tauchid simplifies this daunting subject, clearly explaining each type of medium and suggesting ways it can enhance your painting practice. Over twenty step-by-step demonstrations teach you how to apply mediums to create vibrant colors, sensuous surfaces, and striking visual effects. Hundreds of beautiful photos illustrate mediums’ almost limitless potential and show you how other artists - both abstract and realist - are employing mediums to push their art in new creative directions. The first book of its kind, this essential reference belongs on every acrylic painter’s shelf. Includes the Work of Contemporary Masters: Nick Bantock, Diane Black, Bruno Capolongo, Pauline Conley, Marc Courtemanche, Marie-Claude Delcourt, Claire Desjardins, Marion Fischer, Heather Haynes, Lorena Kloosterboer, Suzy Lamont, Marie Lannoo, Connie Morris, Barry Oretsky, Lori Richards, Hester Simpson, Ksenia Sizaya, Rhéni Tauchid, Alice Teichert, Beth ten Hove, Sharlena Wood, and Heather Midori Yamada."

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Winner of the Wolfson Prize for History, Ian Kershaw's Hitler 1936-1945: Nemesis is the concluding second volume of one of the greatest biographies of modern times. No figure in twentieth century history more clearly demands a close biographical understanding than Adolf Hitler; and no period is more important than the Second World War. Beginning with Hitler's startling European successes in the aftermath of the Rhineland occupation, from Czechoslovakia to Poland; addressing crucial questions about the unique nature of Nazi radicalism; exploring the Holocaust and the poisoned European world that allowed Hitler to operate so effectively; and ending nine years later with the suicide in the Berlin bunker, Kershaw allows us as never before to understand Hitler's motivation and impact. 'Magisterial ... anyone who wishes to understand the third reich must read Kershaw, for no on has done more to lay bare Hitler's morbid psyche' Niall Ferguson, Sunday Telegraph 'An achievement of the very highest order ... a marvellous book' Michael Burleigh, Financial Times 'No previous biographer has examined Hitler's devilishness in Kershaw's detail ... his book is so comprehensive, so richly documented and so judicious that it will not soon be superseded' Daniel Johnson, Daily Telegraph Ian Kershaw's other books include Hitler 1936-1945: Nemesis, Making Friends with Hitler, Fateful Choices: Ten Decisions that Changed the World 1940-4 and The End: Hitler's Germany, 1944-45. Hitler 1936-1945: Nemesis received the Wolfson History Prize and the Bruno Kreisky Prize in Austria for Political Book of the Year, and was joint winner of the inaugural British Academy Book Prize.

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Introduced by newsreader, presenter, and Barnardo's president Natasha Kaplinsky, Letters From Lockdown features 100+ letters from celebrity names, COVID heroes, and a diverse range of members of the public, all answering the question - 'What was lockdown like for you?'Contributors include: Paul McCartney · Joe Wicks · Malala Yousafzai · Ed Sheeran · Helen Mirren · Cressida Cowell · Mary Berry · Richard Branson · Peppa Pig · Andy Murray · Helena Bonham Carter · Lenny Henry · Bruno Tonioli · Romesh Ranganathan · The family of Captain Tom · Bear Grylls · Charly Cox · Dr Alex George · Jacqueline Wilson · Matt Lucas · Monica Galetti · Kelly Holmes · Bill Gates· Sir Mo Farah and many more.The publisher will donate all profits, which will be a minimum of £1.50 for each copy of the book sold, to Barnardo's (registered charity in England and Wales no. 216250), who do important work to protect and support the UK's most vulnerable children, more in need now than ever.The letter writers include doctors and nurses, care home staff and vaccinators, train drivers and hairdressers, teachers and environmentalists - people who have been on the frontline in tackling the pandemic, or in trying to get the world back on its feet. Other letters document the unforgettable lighter moments of the past year: interviews crashed by children, TikTok triumphs and disasters, and Goats joining Zoom meetings. Each offers their unique perspective on the year everything changed.Other contributors include: Al Gore; Alexandra Shulman, Davina McCall, Toby Regbo, Trevor McDonald, Jo Malone, Keir Starmer, Boris Johnson, Mark Ronson, Maro Itoje, Nicola Adams, Raymond Blanc, Richard Curtis and Emma Freud, Chris Van Dusen, Sita Brahmachari, Sophie Gonzales, Hayden Kays, Tim Peake, Sean Fitzpatrick, and Joan Collins.The idea for the book came from Natasha Kaplinsky's children, Arlo and Kika. They wrote an open letter, wanting to understand other people's experiences of lockdown. Their question, 'What was lockdown like for you?' is the prompt; the collection of letters in response form the book. As we keep our fingers crossed that this summer will bring a safe end to restrictions, this mixture of funny, sad, heart-warming, surprising, heroic and honest experiences will mark the start of a period of reflection.Adrian Packer, Al Gore, Alex George, Alexandra Shulman, Ali Mercer, Alice M Greenwald, Ali Joy, Andy Murray, Antony Cauvin, Anushua Gupta, Bear Grylls, Benjie and Georgia Ingram-Moore, Bill Gates and Melinda French Gates, Bob Wilson, Boris Johnson, Bruno Tonioli, Buckingham Palace, Charly Cox, Chimwemwe Chiweza, Chris and Vicki Agar, Chris Van Dusen, Clare Wenham, Colette Moreira-Henocq, Cressida Cowell, Davey Glover, Davina McCall, Dawn Bilbrough, Dot McCarthy, Ed Balls, Ed Sheeran, Elliot Jacobs, Emma Freud and Richard Curtis, Fergus Llewellyn, George Alagiah, Gill Edwards, Hayden Kays, Helen Mirren, Helena Bonham Carter, Hollie Long, HRH The Duchess of Cornwall, Hugh Fearnley-Whittingstall, Jacqueline Wilson, Jacquie Jenkins, James Graham, Javed Khan, Jenny Messenger, Jo Malone, Joan Collins, Joe Wicks, John Vincent, Josie Naughton, Kathryn England, Karen Pollock, Karl Jones, Keir Starmer, Kelly Holmes, Laura Elliott, Lenny Henry, Lindsay Hoyle, Maff Potts, Maia Elliott, Malala Yousafzai, Margaret Keenan, Marie Benton, Mark Ronson, Maro Itoje, The Marsh Family, Mary Berry, Matt Lucas, Meggie Foster, Michele Walter, Mo Farah, Monica Galetti, Mr Men's Mr Happy, Neera Butt, Nicola Adams, Nina Raingold, Patricia Daley, Paul Atherton, Paul McCartney, Paul Morrison, Paula Talman, Peppa Pig, Philippa Craddock, Raymond Blanc, Rene Germain, Richard Branson, Roja Dove, Romesh Ranganathan, Rosie Jones, Rosie Mitchell, Sandi Procter, Scott Evans, Sean Fitzpatrick, Sharna Jackson, Sita Brahmachari, Sophie Gonzales, Tamara Rojo, Tanni Grey-Thompson, Tessa Mattholie Butunoi, Tim Peake, Tim Steiner, Toby Regbo, Trevor McDonald, Will Shu, Woody, Zoe Burke

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What objects exist in the social world and how should we understand them? Is a specific Pizza Hut restaurant as real as the employees, tables, napkins and pizzas of which it is composed, and as real as the Pizza Hut corporation with its headquarters in Wichita, the United States, the planet Earth and the social and economic impact of the restaurant on the lives of its employees and customers? In this book the founder of object-oriented philosophy develops his approach in order to shed light on the nature and status of objects in social life. While it is often assumed that an interest in objects amounts to a form of materialism, Harman rejects this view and develops instead an “immaterialist” method. By examining the work of leading contemporary thinkers such as Bruno Latour and Levi Bryant, he develops a forceful critique of ‘actor-network theory’. In an extended discussion of Leibniz’s famous example of the Dutch East India Company, Harman argues that this company qualifies for objecthood neither through ‘what it is’ or ‘what it does’, but through its irreducibility to either of these forms. The phases of its life, argues Harman, are not demarcated primarily by dramatic incidents but by moments of symbiosis, a term he draws from the biologist Lynn Margulis. This book provides a key counterpoint to the now ubiquitous social theories of constant change, holistic networks, performative identities, and the construction of things by human practice. It will appeal to anyone interested in cutting-edge debates in philosophy and social and cultural theory.

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Socially, politically, and artistically, the 1950s make up an odd interlude between the first half of the twentieth century-still tied to the problems and orders of the Victorian era and Gilded Age-and the pervasive transformations of the later sixties. In Revolution, Matthew Wilkens argues that postwar fiction functions as a fascinating model of revolutionary change. Uniting literary criticism, cultural analysis, political theory, and science studies, Revolution reimagines the years after World War II as at once distinct from the decades surrounding them and part of a larger-scale series of rare, revolutionary moments stretching across centuries. Focusing on the odd mix of allegory, encyclopedism, and failure that characterizes fifties fiction, Wilkens examines a range of literature written during similar times of crisis, in the process engaging theoretical perspectives from Walter Benjamin and Fredric Jameson to Bruno Latour and Alain Badiou alongside readings of major novels by Ralph Ellison, William Gaddis, Doris Lessing, Jack Kerouac, Thomas Pynchon, and others. Revolution links the forces that shaped postwar fiction to the dynamics of revolutionary events in other eras and social domains. Like physicists at the turn of the twentieth century or the French peasantry of 1789, midcentury writers confronted a world that did not fit their existing models. Pressed to adapt but lacking any obvious alternative, their work became sprawling and figurative, accumulating unrelated details and reusing older forms to ambiguous new ends. While the imperatives of the postmodern eventually gave order to this chaos, Wilkens explains that the same forces are again at work in today's fracturing literary market.

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Assessing the dawn of the Anthropocene era, a poet and philosopher asks: How do we live at the end of the world? The end of the Holocene era is marked not just by melting glaciers or epic droughts, but by the near universal disappearance of shared social enterprise: the ruling class builds walls and lunar shuttles, while the rest of us contend with the atrophy of institutional integrity and the utter abdication of providing even minimal shelter from looming disaster. The irony of the Anthropocene era is that, in a neoliberal culture of the self, it is forcing us to consider ourselves as a collective again. For those of us who are not wealthy enough to start a colony on Mars or isolate ourselves from the world, the Anthropocene ends the fantasy of sheer individualism and worldlessness once and for all. It introduces a profound sense of time and events after the so-called "end of history" and an entirely new approach to solidarity. How to Live at the End of the World is a hopeful exploration of how we might inherit the name "Anthropocene," renarrate it, and revise our way of life or thought in view of it. In his book on time, art, and politics in an era of escalating climate change, Holloway takes up difficult, unanswered questions in recent work by Donna Haraway, Kathryn Yusoff, Bruno Latour, Dipesh Chakrabarty, and Isabelle Stengers, sketching a path toward a radical form of democracy—a zoocracy, or, a rule of all of the living.

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Une certaine idee de l'Europe nait avec Charlemagne et depuis ce neuvieme siecle medieval jusqu'a nos jours, la pensee italienne a faconne la culture europeenne de facon profonde et decisive. La pensee italienne, comme elle s'est deployee au cours de l'histoire dans les sciences, la philosophie et les arts, a ete largement assimilee, amendee et transposee dans la plupart des pays de l'Europe. C'est en Italie que naissent les universites, que la vie monastique a ete inventee par Saint Benoit, que la civilisation communale jusqu'a l'invention des banques a pris son essor. Depuis Florence, Venise et Rome, la Renaissance et l'Humanisme conquierent la France, l'Angleterre et les pays du Nord. La nouvelle vision du monde et de la societe, de Machiavel a Giordano Bruno, de Galileo a Vico, s'implantera dans l'esprit europeen. Au vingtieme siecle, des penseurs et des mouvements politiques italiens ont eu un impact considerable sur l'histoire de la gauche et de la droite europeenne, tandis que l'eclosion des arts (cinema, theatre, musique, architecture) n'ont cesse de fasciner l'Europe entiere. Le present volume contient les Actes du colloque La contribution de la pensee italienne a la culture europeenne, qui s'est deroule du 6 au 8 novembre 2003 au Palais des Beaux-Arts dans le cadre d'Europalia-Italia. Preside par Umberto Eco, le colloque a fait appel a une serie de conferenciers de renommee internationale (Claudio Leonardi, Costantino Marmo, Maria Teresa Fumagalli, Rudi Imbach, Gilbert Tournoy, Jean-Jacques Marchand, Lina Bolzoni, Andrea Battistini, Pietro Corsi, Jean Weisgerber, David Forgacs).

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Classical synchronous motors are the most effective device to drive industrial production systems and robots with precision and rapidity. However, numerous applications require efficient controls in non-conventional situations. Firstly, this is the case with synchronous motors supplied by thyristor line-commutated inverters, or with synchronous motors with faults on one or several phases. Secondly, many drive systems use non-conventional motors such as polyphase (more than three phases) synchronous motors, synchronous motors with double excitation, permanent magnet linear synchronous motors, synchronous and switched reluctance motors, stepping motors and piezoelectric motors. This book presents efficient controls to improve the use of these non-conventional motors. Contents 1. Self-controlled Synchronous Motor: Principles of Function and Simplified Control Model, Francis Labrique and François Baudart.2. Self-controlled Synchronous Motor: Dynamic Model Including the Behavior of Damper Windings and Commutation Overlap, Ernest Matagne.3. Synchronous Machines in Degraded Mode, Damien Flieller, Ngac Ky Nguyen, Hervé Schwab and Guy Sturtzer.4. Control of the Double-star Synchronous Machine Supplied by PWM Inverters, Mohamed Fouad Benkhoris.5. Vectorial Modeling and Control of Multiphase Machines with Non-salient Poles Supplied by an Inverter, Xavier Kestelyn and Éric Semail.6. Hybrid Excitation Synchronous Machines, Nicolas Patin and Lionel Vido.7. Advanced Control of the Linear Synchronous Motor, Ghislain Remy and Pierre-Jean Barre.8. Variable Reluctance Machines: Modeling and Control, Mickael Hilairet, Thierry Lubin and Abdelmounaïm Tounzi.9. Control of the Stepping Motor, Bruno Robert and Moez Feki .10. Control of Piezoelectric Actuators, Frédéric Giraud and Betty Lemaire-Semail.

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Philosophers of the Renaissance introduces readers to philosophical thinking from the end of the Middle Ages through the sixteenth century. International specialists portray the thought of twenty-one individual philosophers, illustrating their life and work and highlighting the importance of their thinking. Best known among the personalities discussed are Nicholas of Cusa, who combined mathematics with theology; Pico della Mirandola, the first to introduce Hebrew wisdom: Marsilio Ficino, who made the works of Plato accessible to his contemporaries; Pietro Pomponazzi, who challenged the Church with unorthodox teachings; and, Tommaso Campanella, who revolutionized philosophy and science while imprisoned. Philosophers of this period explored a great variety of human knowledge: Greek scholars who had emigrated from Byzantium spread ancient and patristic learning; humanists applied their skills to art, architecture, and the text of the Bible (Leon Battista Alberti and Lorenzo Valla); some debated about methods of scientific research - always with religion in their mind (Raymond Lull, Agrippa of Nettesheim, Philipp Melanchthon, Petrus Ramus, Bernardino Telesio, Jacopo Zabarella); others pondered the ethical implications (Michel de Montaigne, Luis Vives); or they confronted a radical overturn of the traditional worldview (Francesco Patrizi, Giordano Bruno, Francisco Suarez). The book weaves together the stories of these thinkers by emphasizing the unity of Renaissance philosophy. Originally published in German in 1998, the chapters have been thoroughly revised and updated. There is a chapter on Luis Vives that was written specifically for this English edition. This is a rich and accessible introduction to the philosophical thought that shaped modernity.

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What objects exist in the social world and how should we understand them? Is a specific Pizza Hut restaurant as real as the employees, tables, napkins and pizzas of which it is composed, and as real as the Pizza Hut corporation with its headquarters in Wichita, the United States, the planet Earth and the social and economic impact of the restaurant on the lives of its employees and customers? In this book the founder of object-oriented philosophy develops his approach in order to shed light on the nature and status of objects in social life. While it is often assumed that an interest in objects amounts to a form of materialism, Harman rejects this view and develops instead an “immaterialist” method. By examining the work of leading contemporary thinkers such as Bruno Latour and Levi Bryant, he develops a forceful critique of ‘actor-network theory’. In an extended discussion of Leibniz’s famous example of the Dutch East India Company, Harman argues that this company qualifies for objecthood neither through ‘what it is’ or ‘what it does’, but through its irreducibility to either of these forms. The phases of its life, argues Harman, are not demarcated primarily by dramatic incidents but by moments of symbiosis, a term he draws from the biologist Lynn Margulis. This book provides a key counterpoint to the now ubiquitous social theories of constant change, holistic networks, performative identities, and the construction of things by human practice. It will appeal to anyone interested in cutting-edge debates in philosophy and social and cultural theory.

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Stanislaw Baranczak, a Polish writer in exile, turns to his colleagues and their plights, in Poland, Czechoslovakia, Hungary, and the Soviet Union, to explain why oppressive regimes could not succeed in their attempts to transform the Eastern European into Homo sovieticus.These superb essays focus on the role that culture, and particularly literature, has played in keeping the spirit of intellectual independence alive in Eastern and Central Europe. Exploring a variety of issues from censorship to underground poetry, Baranczak shows why, in societies where people struggle to survive under totalitarian rule, art is believed to have the power to make things happen.He brings into sharp relief the works and personalities of many legendary figures of recent Eastern European political and cultural history from Lech Walesa and Pope John Paul II to Václav Havel and Adam Michnik to Czeslaw Milosz, Witold Gombrowicz, Bruno Schulz, and Joseph Brodsky--and makes vivid the context from which they spring. Some of the essays probe the sense of inarticulateness experienced by writers in exile; many represent the literary essay at its best; all reveal that Baranczak is a sophisticated, often savagely funny writer on whom nothing is lost. This refreshing and provocative book guides us toward a clearer understanding of what has led to the present moment, in which the nations of Eastern and Central Europe, tired of striving to "breathe under water," are finally "coming up for air." It is rewarding reading for anyone interested in art's confrontation with an intractable political reality--wherever it occurs in the world.

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The ultimate collector’s resource, including hundreds of pieces by both well- and lesser-known designers from around the world. From armchairs and chaises longues to cabinets and nightstands, the period between the late 1930s and early 1970s was one of the most productive, inventive and exciting eras for objects and furniture in the home. Post-war optimism combined with new manufacturing methods and material techniques to create an explosion of new design and objects of desire. The appetite for mid-century modern remains as strong as ever, both for classic designs – many still in production since they were launched – and for rare, hard-to- find or out-of-production pieces from lesser-known designers. While numerous books surveying mid-century modern style have appeared over the years, no publication has been specifically conceived for the increasing collector’s market in mid-century modern design, focusing on each piece of furniture as an object of formal invention, manufacturing intelligence and material innovation. This definitive book profiles hundreds of pieces in a substantial format perfect for reference in design libraries, studios and the homes of private collectors – or as an object of design in its own right. Each item of furniture is presented in detail, illustrated in colour and profiled via in-depth descriptive texts by Dominic Bradbury. The book’s substantial reference section includes essays on materials (eg, plywood) and designer profiles. Work by a host of influential talents is profiled throughout, alongside lesser-known pieces by Piet Hein, Bruno Mathsson, Lina Bo Bardi and Alexander Girard.

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SAVE THE SOLAR SYSTEM FROM THE ULTIMATE COLLAPSE In the eighth decade of the Queendom of Sol, three commodities rule the day. The first is wellstone, a form of programmable matter capable of emulating almost any substance. The second is collapsium, a deadly crystal composed of miniature black holes, vital for the transmission of information and matter—including humans—throughout the Solar System. The third is the bitter rivalry between Her Majesty's top scientists. Bruno de Towaji, famed lover and statesman, dreams of building an arc de fin, an almost mythical device capable of probing the farthest reaches of spacetime. Marlon Sykes, de Towaji's rival in both love and science, is meanwhile hard at work on a vast telecommunications project whose first step is the construction of a ring of collapsium around the Sun. But when a ruthless saboteur attacks the Ring Collapsiter and sends it falling into the Sun, the two scientists must put aside personal animosity and combine their prodigious intellects to prevent the destruction of the Solar System—and every living thing within it. About The Collapsium: “Ingenious and witty . . . as if Terry Pratchett at his zaniest and Larry Niven at his best had collaborated.”—Booklist "Fresh and imaginative. From a plausible yet startling invention, McCarthy follows the logical lines of sight, building in parallel the technological and societal innovations."—Science Fiction Weekly "The future as McCarthy sees it is a wondrous place." —Publishers Weekly "[McCarthy] studs his narrative with far-out scientific concepts. . . . He certainly has a sense of humor."—The New York Times “An ingenious yarn with challenging ideas, well-handled technical details, and plenty of twists and turns.”—Kirkus

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How did eighteenth-century readers find and make time to read?Books have always posed a problem of time for readers. Becoming widely available in the eighteenth century—when working hours increased and lighter and quicker forms of reading (newspapers, magazines, broadsheets) surged in popularity—the material form of the codex book invited readers to situate themselves creatively in time. Drawing on letters, diaries, reading logs, and a range of eighteenth- and early nineteenth-century novels, Christina Lupton’s Reading and the Making of Time in the Eighteenth Century concretely describes how book-readers of the past carved up, expanded, and anticipated time.Placing canonical works by Elizabeth Inchbald, Henry Fielding, Amelia Opie, and Samuel Richardson alongside those of lesser-known authors and readers, Lupton approaches books as objects that are good at attracting particular forms of attention and paths of return. In contrast to the digital interfaces of our own moment and the ephemeral newspapers and pamphlets read in the 1700s, books are rarely seen as shaping or keeping modern time. However, as Lupton demonstrates, books are often put down and picked up, they are leafed through as well as read sequentially, and they are handed on as objects designed to bridge temporal distances. In showing how discourse itself engages with these material practices, Lupton argues that reading is something to be studied textually as well as historically.Applying modern theorists such as Niklas Luhmann, Bruno Latour, and Bernard Stiegler, Lupton offers a rare phenomenological approach to the study of a concrete historical field. This compelling book stands out for the combination of archival research, smart theoretical inquiry, and autobiographical reflection it brings into play.

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Paul Scheerbart (1863-1915) was a visionary German novelist, theorist, poet, and artist who made a lasting impression on such icons of modernism as Walter Benjamin, Bruno Taut, and Walter Gropius. Fascinated with the potential of glass as a medium for expressionist architecture and moved by tales of the fantastic, Scheerbart envisioned the sublime through a series of futurist milieus composed entirely of crystalline, colored glass architecture. In 1912, Scheerbart published "The Light Club of Batavia", a novelette about the formation of a club dedicated to building a glass spa for bathing - not in water, but in light - at the bottom of an abandoned mineshaft. Translated here into English for the first time, this rare story serves as a point of departure for Josiah McElheny, who, with an esteemed group of collaborators, offers a fascinating array of responses to this enigmatic work. "The Light Club" makes clear that the themes of utopian hope, desire, and madness in Scheerbart's tale represent a part of modernism's lost project: a world that would have looked entirely different from the one we now inhabit. In his compelling introduction, McElheny describes Scheerbart's life as well as his own enchantment with the artist, and he explains the ways in which 'The Light Club of Batavia' inspired him to produce art of uncommon breadth. "The Light Club" also features inspired writings from Gregg Bordowitz and Ulrike Muller, Andrea Geyer, and Branden W. Joseph, as well as translations of original texts by and about Scheerbart. A unique response by one visionary artist to another, "The Light Club" is an unforgettable examination of what it might mean to see radical potential in the readily transparent.

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Ian Kershaw's Hitler 1889-1936: Hubris charts the rise of Adolf Hitler, from a bizarre misfit in a Viennese dosshouse, to dictatorial leadership.With extraordinary skill and vividness, drawing on a huge range of sources, Kershaw recreates the world which first thwarted and then nurtured Hitler in his youth, from early childhood to the first successes of the Nazi Party. As his seemingly pitiful fantasy of being Germany's saviour attracted more and more support, Kershaw brilliantly conveys why so many Germans adored Hitler, connived with him or felt powerless to resist him. 'Supersedes all previous accounts. It is the sort of masterly biography that only a first-rate historian can write' David Cannadine, Observer Books of the Year 'The Hitler biography for the 21st century ... cool, judicious, factually reliable and intelligently argued' Richard Evans, Sunday Telegraph 'One of the major historical biographies of our times ... a riveting read' Jackie Wullschlager, Financial Times, Best Biographies of the Year 'His analysis of Hitler's extraordinary character has the fascination of a novel, but he places his struggle and rise in the context of meticulously researched history ... Deeply disturbing. Unforgettable' A.N. Wilson, Daily Mail 'A sane, erudite, moral and intellectually honest biography of the 20th century's most destructive politician' Ruth Scurr, The Times Ian Kershaw's other books include Hitler 1936-1945: Nemesis, Making Friends with Hitler, Fateful Choices: Ten Decisions that Changed the World 1940-4 and The End: Hitler's Germany, 1944-45. Hitler 1936-1945: Nemesis received the Wolfson History Prize and the Bruno Kreisky Prize in Austria for Political Book of the Year, and was joint winner of the inaugural British Academy Book Prize.

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“Psychoanalysis may be said to have been born in the twentieth century,” Freud said late in his career, “but it did not drop from the skies ready-made.” And in his speculative theories of modernism, Bruno Latour argued that “no science can exit from the network of its practice.” Deploying Latour’s model of scientific theory production, this book argues that the historical emergence of psychoanalysis depended on nineteenth-century scientific practices: laboratory experimentation, medical transmission of research findings along collegial or social networks, and medical representation of illness—including case studies, amphitheatrical demonstration of cases, hospital records of symptoms, and laboratory graphology and photography of patients. The author shows how hysteria enabled Freud to appropriate medical and scientific concepts from neurology, sexology, gynecology, psychiatry, and existing rest cures and psychotherapies. His new model eschewed physiological determinism, linking unconscious ideation with counterwill and reproduced memory, psychosexual experience, and affect-laden images of object relations (usually with family members). Constructing around himself a psychoanalytic circle and establishing training institutions, Freud translated this new psycho-physical body and hybrid subjectivity to other research sites. Just as in the 1890’s he had used the figure of the hysteric to mobilize theory production, by the 1920’s he had replaced the hysteric with a modernized figure, the homosexual. Freud used autobiography, summary, and outline to stabilize his concepts and control the dissemination of his new science. Psychoanalysis had successfully created new scientific “plausible bridges” between psyche and soma, nature and the social, to produce a modern theory of hybrid subjectivity that was rooted in yet conceptually separated from the body.

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There have been two common assumptions about Stanley Kubrick: that his films portray human beings who are driven exclusively by aggression and greed, and that he pessimistically rejected meaning in a contingent, postmodern world. However, as Kubrick himself remarked, "A work of art should be always exhilarating and never depressing, whatever its subject matter may be." In this new interpretation of Kubrick's films, Julian Rice suggests that the director's work had a more positive outlook than most people credit him. And while other studies have recounted Kubrick's life and production histories, few have offered lucid explanations of specific sources and their influence on his films. In Kubrick's Hope, Rice explains how the theories of Freud and Jung took cinematic form, and also considers the significant impression left on the director's last six films by Robert Ardrey, Bruno Bettelheim, and Joseph Campbell. In addition to providing useful contexts, Rice offers close readings of the films, inviting readers to note details they may have missed and to interpret them in their own way. By refreshing their experience of the films and discarding postmodern clichés, viewers may discover more optimistic themes in the director's works. Beginning with 2001: A Space Odyssey and continuing through A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket, and Eyes Wide Shut, Rice illuminates Kubrick's thinking at the time he made each film. Throughout, Rice examines the compelling political, psychological, and spiritual issues the director raises. As this book contends, if these works are considered together and repeatedly re-viewed, Kubrick's films may help viewers to personally grow and collectively endure.

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Once the Queendom of Sol was a glowing monument to humankind’s loftiest dreams. Ageless and immortal, its citizens lived in peaceful splendor. But as Sol buckled under the swell of an "immorbid" population, space itself literally ran out. . . . Conrad Mursk has returned to Sol on the crippled starship Newhope. His crew are the frozen refugees of a failed colony at Barnard’s Star. A thousand years older, Mursk finds Sol on the brink of rebellion, while a fanatic necro cult is reviving death itself. Now Mursk and his lover, Captain Xiomara “Xmary” Li Weng, are sent on a final, desperate mission by King Bruno de Towaji—one of the greatest terraformers of the ages—to literally crush the moon. If they succeed, they’ll save billions of lost souls. If they fail, they’ll strand humanity between death and something unimaginably worse. . . . About Wil McCarthy: “McCarthy is an entertaining, intelligent, amusing writer, with Heinlein's knack for breakneck plotting and, at the same time, Clarke's thoughtfulness.”—Booklist “‘Imagination really is the only limit.’”—The New York Times “The future as McCarthy sees it is a wondrous place.”—Publishers Weekly “A bright light on the SF horizon.”—David Brin “Wil McCarthy demonstrates that he has a sharp intelligence, a galaxy-spanning imagination, and the solid scientific background to make it all work.”—Connie Willis “In nearly every passage, we get another slice of the science of McCarthy’s construction, and a deeper sense of danger and foreboding . . . McCarthy develops considerable tension.”—San Diego Union-Tribune “An ingenious yarn with challenging ideas, well-handled technical details, and plenty of twists and turns.”—Kirkus

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This volume revisits the concepts of enchantment and sacralization in light of perspectives which challenge the modern notion that man (alone) is the measure of all things. As Bruno Latour has argued, the battle against superstition entailed shifting power away from God/the gods to humans, thereby disqualifying the agency of all the other objects in the world. Might enchantment and sacralization be understood in other ways than through this battle between almighty gods and almighty humans? Might enchantment be understood to involve processes where power and control are not distributed so clearly and definitely?Like social constructionists, Latour emphasizes that things are constructed; yet, like many other new materialists, such as Jane Bennett, Manuel De Landa and Karen Barad, he emphasizes that this construction is not the result of projecting meaning onto a passive and meaningless world, but a matter of compositional achievements, whereby assemblages of actants co-compose each other and frame, enable and delimit one another's agency.This move recognizes the active and entangled participation of players beyond the humans versus God(s) framework that informed the modernist project. Understanding enchantment and sacralisation as compositionally and relationally constructed does not mean the same as understanding them as constructed by humans alone. What it means is one of the main questions posed in this book. In other words, if enchantment and sacralization are not understood (solely) in terms of projecting anthropocentric meaning onto mute objects, what are some promising alternative approaches - old and new - and what are their implications for how we understand modernity and for method and theory in the study of religion?

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In 16th century Italy, in the midst of the Renaissance, two powerful movements took hold. The first, the Hermetic Movement, was inspired by an ancient set of books housed in the library of Cosimo de' Medici and written by the Egyptian sage Hermes Trismegistus. The movement expounded the return of the "true religion of the world" based on a form of natural magic that could draw down the powers of the heavens and incorporate them into statues and physical structures. The other movement, the Heliocentric Movement launched by Copernicus, was a direct challenge to the Vatican's biblical interpretation of a geocentric world system. Declared a heresy by the Pope, those who promoted it risked the full force of the Inquisition. Exploring the meeting point of these two movements, authors Robert Bauval and Chiara Hohenzollern reveal how the most outspoken and famous philosophers, alchemists, and scientists of the Renaissance, such as Giordano Bruno and Marsilio Ficino, called for a Hermetic reformation of the Christian religion by building a magical utopic city, an architectural version of the heliocentric system. Using contemporary documents and the latest cutting-edge theses, the authors show that this Temple of the Sun was built in Rome, directly in front of the Vatican's Basilica of St. Peter. They explain how the Vatican architect Bernini designed St. Peter's Square to reflect the esoteric principles of the Hermetica and how the square is a detailed representation of the heliocentric system. Revealing the magical architectural plan masterminded by the Renaissance's greatest minds, including Bernini, Jesuit scholars, Queen Christine of Sweden, and several popes, the authors expose the ultimate heresy of all time blessed by the Vatican itself.

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He is the goal-scoring legend of the Treble Triumph, a local hero in Manchester and back home in Norway. But when Ole Gunnar Solskjaer was announced in December 2018 as interim Manchester United manager, his only Premier League experience was overseeing Cardiff City’s relegation. After a dismal time following Sir Alex Ferguson’s departure, could he really be the one to see the club challenge again for major honours? It all started so well – a record-breaking run of victories, Solskjaer seemingly the antidote to the confusion of Moyes, the stagnation of Van Gaal, the trauma of Mourinho, and the permanent job was secured. His first full season in charge was a bumpy ride, but Solskjaer steered the club to three semi-finals and a creditable third-place finish. He has reinvigorated players like Luke Shaw, Paul Pogba and Marcus Rashford, given opportunities to newcomers such as Mason Greenwood, and brought in fresh talent in the shape of Bruno Fernandes, Edinson Cavani and Harry Maguire. In this updated edition, Jackson reveals how Solskjaer inspired United back into title contention once again during 2020-21, also taking them to a European final. In The Red Apprentice, Jamie Jackson takes the reader back to Solskjaer’s early days in Norway to discover the making of the man. He relives his extraordinary playing career and that goal in the Champions League final of 1999, exploring his move into coaching and seeks an answer to the vital question: can he do it? Can Ole Gunnar Solskjaer draw on his experience and knowledge of the United way and bring the club its 21st league title?

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Jean Baudrillard (1929-2007) was a controversial social and cultural theorist known for his trenchant analyses of media and technological communication. Belonging to the generation of French thinkers that included Gilles Deleuze, Jean-Francois Lyotard, Michel Foucault, and Jacques Lacan, Baudrillard has at times been vilified by his detractors, but the influence of his work on critical thought and pop culture is impossible to deny (many might recognize his name from The Matrix movies, which claimed to be based on the French theorist's ideas). Steve Redhead takes a fresh look at Baudrillard in relation to the intellectual and political climates in which he wrote. Baudrillard sought to produce a theory of modernity, but the modern world of the 1950s was radically different from the reality of the early twenty-first century. Beginning with Baudrillard's initial publications in the 1960s and concluding with his writings on 9/11 and Abu Ghraib, Redhead guides the reader through Baudrillard's difficult texts and unorthodox views on current issues. He also proposes an original theory of Baudrillard's relation to postmodernism, presenting the theorist's work as "non-postmodernist," after Bruno Latour's concept of "non-modernity." Each section of the Reader includes an extract from one of Baudrillard's writings, prefaced by a short bibliographical introduction that places the piece in context and puts the debate surrounding the theorist into sharp perspective. The conflict over Baudrillard's legacy stems largely from the fact that a comprehensive selection of his writings has yet to be translated and collected into one volume. The Jean Baudrillard Reader provides an expansive and much-needed portrait of the critic's resonant work.

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Once the Queendom of Sol was a glowing monument to humankind’s loftiest dreams. Ageless and immortal, its citizens lived in peaceful splendor. But as Sol buckled under the swell of an immorbid population, space itself literally ran out. . . . Conrad Mursk has returned to Sol on the crippled starship Newhope. His crew are the frozen refugees of a failed colony known as Barnard’s Star. A thousand years older, Mursk finds Sol on the brink of rebellion, while a fanatic necro cult is reviving death itself. Now Mursk and his lover, Captain Xiomara “Xmary” Li Weng, are sent on a final, desperate mission by King Bruno de Towaji—one of the greatest terraformers of the ages—to literally crush the moon. If they succeed, they’ll save billions of lost souls. If they fail, they’ll strand humanity between death and something unimaginably worse. . . . About Wil McCarthy: “McCarthy is an entertaining, intelligent, amusing writer, with Heinlein's knack for breakneck plotting and, at the same time, Clarke's thoughtfulness.”—Booklist “‘Imagination really is the only limit.’”—The New York Times “The future as McCarthy sees it is a wondrous place.”—Publishers Weekly “A bright light on the SF horizon.”—David Brin “Wil McCarthy demonstrates that he has a sharp intelligence, a galaxy-spanning imagination, and the solid scientific background to make it all work.”—Connie Willis “In nearly every passage, we get another slice of the science of McCarthy’s construction, and a deeper sense of danger and foreboding . . . McCarthy develops considerable tension.”—San Diego Union-Tribune “An ingenious yarn with challenging ideas, well-handled technical details, and plenty of twists and turns.”—Kirkus

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The Renaissance was a period of great intellectual change and innovation as philosophers rediscovered the philosophy of classical antiquity and passed it on to the modern age. Renaissance philosophy is distinct both from the medieval scholasticism, based on revelation and authority, and from philosophers of the seventeenth and eighteenth centuries who transformed it into new philosophical systems.Despite the importance of the Renaissance to the development of philosophy over time, it has remained largely understudied by historians of philosophy and professional philosophers. This anthology aims to correct this by providing scholars and students of philosophy with representative translations of the most important philosophers of the Renaissance. Its purpose is to help readers appreciate philosophy in the Renaissance and its importance in the history of philosophy. The anthology includes translations from philosophers from the thirteenth to the seventeenth centuries, and it ranges from works on moral and political philosophy, to metaphysics, epistemology, and natural philosophy, thereby providing historians and students of philosophy with a sense for the nature, breadth, and complexity of philosophy in the Renaissance. Each translation is accompanied by an introduction by a historian of Renaissance philosophy, as well as select secondary sources, in order to encourage further study.This anthology is a companion to Philosophers of the Renaissance, which included essays on the writings of the same group of philosophers of the Renaissance: Raymond Llull, Gemistos Plethon, George of Trebizond, Basil Bessarion, Lorenzo Valla, Nicholas of Cusa, Leon Battista Alberti, Giovanni Pico della Mirandola, Marsilio Ficino, Pietro Pomponazzi, Niccolò Machiavelli, Heinrich Cornelius Agrippa von Nettesheim, Juan Luis Vives, Philipp Melanchthon, Petrus Ramus, Bernardino Telesio, Jacopo Zabarella, Michel de Montaigne, Francesco Patrizi, Giordano Bruno, Francisco Suàrez, Tommaso Campanella.

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Be Careful What You Wish For, the fourth instalment in Jeffrey Archer’s The Clifton Chronicles, opens with Harry Clifton and his wife Emma rushing to hospital to learn the fate of their son Sebastian, who has been involved in a fatal car accident. But who died, Sebastian or his best friend Bruno?When Ross Buchanan is forced to resign as chairman of the Barrington Shipping Company, Emma Clifton wants to replace him. But Don Pedro Martinez intends to install his puppet, the egregious Major Alex Fisher, in order to destroy the Barrington family firm just as the company plans to build its new luxury liner, the MV Buckingham.Back in London, Harry and Emma’s adopted daughter Jessica wins a scholarship to the Slade Academy of Art where she falls in love with a fellow student who asks her to marry him. Both families are delighted until Jessica’s future mother-in-law has a visit from an old friend, who drops her particular brand of poison into the wedding chalice.Then, without warning, Cedric Hardcastle, a bluff Yorkshireman who no one has come across before, takes his place on the board of Barrington’s. This causes an upheaval that none of them could have anticipated, and will change the lives of every member of the Clifton and Barrington families. Hardcastle’s first decision is who to support to become the next chairman of the board: Emma Clifton or Major Alex Fisher? And with that decision, the story takes yet another twist that will keep you on the edge of your seat.Continue the bestselling series with Mightier than the Sword and Cometh the Hour.

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Neoliberalism has been a buzzword in literary studies for well over a decade, but its meaning remains ambiguous and its salience contentious. In Neoliberalism and Contemporary Literary Culture, Mitchum Huehls and Rachel Greenwald Smith offer a wide-ranging exploration of contemporary literature through the lens of neoliberalism's economic, social, and cultural ascendance. Bringing together accessible and provocative essays from top literary scholars, this innovative collection examines neoliberalism's influence on literary theory and methodology, literary form, literary representation, and literary institutions. A four-phase approach to the historical emergence of neoliberalism from the early 1970s to the present helps to clarify the complexity of the relationship between neoliberalism and literary culture. Layering that history over the diverse changes in a US-Anglo literary field that has moved away from postmodern forms and sensibilities, the book argues that many literary developments-including the return to realism, the rise of the memoir, the embrace of New Materialist theory, and the pursuit of aesthetic autonomy-make more coherent sense when viewed in light of neoliberalism's ever-increasing expansion into the cultural sphere. The essays gathered here engage a diverse range of theorists, including Michel Foucault, Wendy Brown, Giorgio Agamben, Bruno Latour, Maurice Merleau-Ponty, Gary Becker, and Eve Sedgwick to address the reciprocal relationship between neoliberalism and conceptual fields such as biopolitics, affect, phenomenology, ecology, and new materialist ontology. These theoretical perspectives are complemented by innovative readings of contemporary works of literature by writers such as Jennifer Egan, Ben Lerner, Gillian Flynn, Teju Cole, Jonathan Franzen, Chimamanda Ngozi Adichie, Salvador Plascencia, E. L. James, Lisa Robertson, Kenneth Goldsmith, and many others. Neoliberalism and Contemporary Literary Culture is essential reading for anyone invested in the ever-changing state of literary culture.

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An entertaining, enlightening, and humorous graphic narrative of the dangerous thinkers who laid the foundation of modern thought This entertaining and enlightening graphic narrative tells the exciting story of the seventeenth-century thinkers who challenged authority--sometimes risking excommunication, prison, and even death--to lay the foundations of modern philosophy and science and help usher in a new world. With masterful storytelling and color illustrations, Heretics! offers a unique introduction to the birth of modern thought in comics form--smart, charming, and often funny. These contentious and controversial philosophers--from Galileo and Descartes to Spinoza, Locke, Leibniz, and Newton--fundamentally changed the way we look at the world, society, and ourselves, overturning everything from the idea that the Earth is the center of the cosmos to the notion that kings have a divine right to rule. More devoted to reason than to faith, these thinkers defended scandalous new views of nature, religion, politics, knowledge, and the human mind. Heretics! tells the story of their ideas, lives, and times in a vivid new way. Crisscrossing Europe as it follows them in their travels and exiles, the narrative describes their meetings and clashes with each other--as well as their confrontations with religious and royal authority. It recounts key moments in the history of modern philosophy, including the burning of Giordano Bruno for heresy, Galileo's house arrest for defending Copernicanism, Descartes's proclaiming cogito ergo sum, Hobbes's vision of the "nasty and brutish" state of nature, and Spinoza's shocking Theological-Political Treatise. A brilliant account of one of the most brilliant periods in philosophy, Heretics! is the story of how a group of brave thinkers used reason and evidence to triumph over the authority of religion, royalty, and antiquity.

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Today, an international new right has coalesced. Variously described as nativist, right-populist, alt-right, and neofascist, far-right movements in many countries have achieved electoral victories that not long ago seemed highly improbable. They have also developed a new cultural politics. Adapting tactics from the left, the new right has moved from decorum to transgression; from conservative propriety to the frank sexualization of political figures and positions; from appealing to the conscious normalcy of the “silent majority” to recasting itself as a protest movement of and for the aggrieved. These movements share a mandate for robust nationalism, yet they also cultivate a striking international solidarity. Who is the subject of this ethnonationalism? Many new right movements have in fact intensified or laid bare long-standing tendencies, but this volume seeks to address aspects of their cultural politics that raise new and urgent questions. How should we assess the new right’s disconcerting appropriations of strategies of minoritarian resistance? How can we practice critique in the face of adversaries who claim to practice a critique of their own? How do apparently post-normative versions of nationalism give rise to heightened forms of militarism, incarceration, censorship, and inequality? How should we understand the temporality of ethnonationalism, which combines a romance with archaic tradition, an ethos of disruption driven by tech futurism frequently tinged with accelerationist pathos, and a kitschy nostalgia for a hazily defined recent past, when things were “greater” than they are now? Surveying nationalisms from Argentina, Brazil, France, Germany, India, Israel-Palestine, the United Kingdom, and the United States, Reaction Formations gives a critical account of contemporary ethnonationalist cultural politics, while drawing out counterstrategies for anti-fascist resistance. Contributors: Tyler Blakeney, Chiara Bottici, Joshua Branciforte, Gisela Catanzaro, Melinda Cooper, Julian Göpffarth, Ramsey McGlazer, Benjamin Noys, Bruno Perreau, Rahul Rao, Shaul Setter, and M. Ty

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In Sciences from Below, the esteemed feminist science studies scholar Sandra Harding synthesizes modernity studies with progressive tendencies in science and technology studies to suggest how scientific and technological pursuits might be more productively linked to social justice projects around the world. Harding illuminates the idea of multiple modernities as well as the major contributions of post-Kuhnian Western, feminist, and postcolonial science studies. She explains how these schools of thought can help those seeking to implement progressive social projects refine their thinking to overcome limiting ideas about what modernity and modernization are, the objectivity of scientific knowledge, patriarchy, and Eurocentricity. She also reveals how ideas about gender and colonialism frame the conventional contrast between modernity and tradition. As she has done before, Harding points the way forward in Sciences from Below.Describing the work of the post-Kuhnian science studies scholars Bruno Latour, Ulrich Beck, and the team of Michael Gibbons, Helga Nowtony, and Peter Scott, Harding reveals how, from different perspectives, they provide useful resources for rethinking the modernity versus tradition binary and its effects on the production of scientific knowledge. Yet, for the most part, they do not take feminist or postcolonial critiques into account. As Harding demonstrates, feminist science studies and postcolonial science studies have vital contributions to make; they bring to light not only the male supremacist investments in the Western conception of modernity and the historical and epistemological bases of Western science but also the empirical knowledge traditions of the global South. Sciences from Below is a clear and compelling argument that modernity studies and post-Kuhnian, feminist, and postcolonial sciences studies each have something important, and necessary, to offer to those formulating socially progressive scientific research and policy.

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Edited by Richard Grusin of the Center for 21st Century Studies, this is the first book to name and characterize—and therefore consolidate—a wide array of current critical, theoretical, and philosophical approaches to the humanities and social sciences under the concept of the nonhuman turn. Each of these approaches is engaged in decentering the human in favor of a concern for the nonhuman, understood by contributors in a variety of ways—in terms of animals, affectivity, bodies, materiality, technologies, and organic and geophysical systems.The nonhuman turn in twenty-first-century studies can be traced to multiple intellectual and theoretical developments from the last decades of the twentieth century: actor-network theory, affect theory, animal studies, assemblage theory, cognitive sciences, new materialism, new media theory, speculative realism, and systems theory. Such varied analytical and theoretical formations obviously diverge and disagree in many of their assumptions, objects, and methodologies. However, they all take up aspects of the nonhuman as critical to the future of twenty-first-century studies in the arts, humanities, and social sciences.Unlike the posthuman turn, the nonhuman turn does not make a claim about teleology or progress in which we begin with the human and see a transformation from the human to the posthuman. Rather, the nonhuman turn insists (paraphrasing Bruno Latour) that “we have never been human,” that the human has always coevolved, coexisted, or collaborated with the nonhuman—and that the human is identified precisely by this indistinction from the nonhuman. Contributors: Jane Bennett, Johns Hopkins U; Ian Bogost, Georgia Institute of Technology; Wendy Hui Kyong Chun, Brown U; Mark B. N. Hansen, Duke U; Erin Manning, Concordia U, Montreal; Brian Massumi, U of Montreal; Timothy Morton, Rice U; Steven Shaviro, Wayne State U; Rebekah Sheldon, Indiana U.

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'Centuries Will Not Suffice' explores how different people responded to the Lithuanian Holocaust and the roles that they played. It considers the past history of the perpetrators and those who took great risks to save Jews, as well as describing the experiences of many who were caught up in the maelstrom. Unlike the figures at the top of the Nazi hierarchy, the men who were responsible for these killings have been largely forgotten. Karl Jäger was a senior SS figure who was in charge of the units that carried out most of them. He complained that his experiences caused him to suffer nightmares but continued to order his units to carry on and refused offers of sick leave on the grounds that he regarded it as his duty to remain in his post. He took refuge in compiling painstakingly detailed reports of the killings, listing the numbers executed at every location and breaking them down into men, women and children. The roles played by other figures, from Himmler and Heydrich at the summit, through the ranks of men down to Martin Weiss and Bruno Kittel who were personally responsible for carrying out Nazi policies, are all described. Before the German invasion of Lithuania, two diplomats – Chiune Sugihara from Japan and Jan Zwartendijk from the Netherlands – recognised the great danger that lay ahead for the Jews of the Baltic region and did what they could to help them escape. Karl Plagge, a major in the army, did all he could to save Jews. What perhaps make the terrible story of the Baltic genocide unique is that the Nazi regime was able to rely upon collaboration by convincing the populace that the Soviet invasion of the area was the responsibility of the Jews.

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Today, an international new right has coalesced. Variously described as nativist, right-populist, alt-right, and neofascist, far-right movements in many countries have achieved electoral victories that not long ago seemed highly improbable. They have also developed a new cultural politics. Adapting tactics from the left, the new right has moved from decorum to transgression; from conservative propriety to the frank sexualization of political figures and positions; from appealing to the conscious normalcy of the “silent majority” to recasting itself as a protest movement of and for the aggrieved. These movements share a mandate for robust nationalism, yet they also cultivate a striking international solidarity. Who is the subject of this ethnonationalism? Many new right movements have in fact intensified or laid bare long-standing tendencies, but this volume seeks to address aspects of their cultural politics that raise new and urgent questions. How should we assess the new right’s disconcerting appropriations of strategies of minoritarian resistance? How can we practice critique in the face of adversaries who claim to practice a critique of their own? How do apparently post-normative versions of nationalism give rise to heightened forms of militarism, incarceration, censorship, and inequality? How should we understand the temporality of ethnonationalism, which combines a romance with archaic tradition, an ethos of disruption driven by tech futurism frequently tinged with accelerationist pathos, and a kitschy nostalgia for a hazily defined recent past, when things were “greater” than they are now? Surveying nationalisms from Argentina, Brazil, France, Germany, India, Israel-Palestine, the United Kingdom, and the United States, Reaction Formations gives a critical account of contemporary ethnonationalist cultural politics, while drawing out counterstrategies for anti-fascist resistance. Contributors: Tyler Blakeney, Chiara Bottici, Joshua Branciforte, Gisela Catanzaro, Melinda Cooper, Julian Göpffarth, Ramsey McGlazer, Benjamin Noys, Bruno Perreau, Rahul Rao, Shaul Setter, and M. Ty

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The French philosopher Jacques Rancière has influenced disciplines from history and philosophy to political theory, literature, art history, and film studies. His research into nineteenth-century workers’ archives, reflections on political equality, critique of the traditional division between intellectual and manual labor, and analysis of the place of literature, film, and art in modern society have all constituted major contributions to contemporary thought. In this collection, leading scholars in the fields of philosophy, literary theory, and cultural criticism engage Rancière’s work, illuminating its originality, breadth, and rigor, as well as its place in current debates. They also explore the relationships between Rancière and the various authors and artists he has analyzed, ranging from Plato and Aristotle to Flaubert, Rossellini, Auerbach, Bourdieu, and Deleuze. The contributors to this collection do not simply elucidate Rancière’s project; they also critically respond to it from their own perspectives. They consider the theorist’s engagement with the writing of history, with institutional and narrative constructions of time, and with the ways that individuals and communities can disturb or reconfigure what he has called the “distribution of the sensible.” They examine his unique conception of politics as the disruption of the established distribution of bodies and roles in the social order, and they elucidate his novel account of the relationship between aesthetics and politics by exploring his astute analyses of literature and the visual arts. In the collection’s final essay, Rancière addresses some of the questions raised by the other contributors and returns to his early work to provide a retrospective account of the fundamental stakes of his project.Contributors. Alain Badiou, Étienne Balibar, Bruno Bosteels, Yves Citton, Tom Conley, Solange Guénoun, Peter Hallward, Todd May, Eric Méchoulan, Giuseppina Mecchia, Jean-Luc Nancy, Andrew Parker, Jacques Rancière, Gabriel Rockhill, Kristin Ross, James Swenson, Rajeshwari Vallury, Philip Watts

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Several studies and research projects all over the world have considered transport pricing strategies as promising attempts to solve the urgent traffic problems in urban areas. However, empirical results have shown that public and political acceptability of such strategies is low. Until now, acceptance research in transport has occurred in comparative isolation. There are no standardized terms and no generally recognized research methodologies. This volume attempts to overcome this research problem and bring the disciplines involved together. The first aim is a contribution to an interdisciplinary exchange which covers all relevant aspects of acceptance. Contributions come from some of the most recognized psychologists, economists, civil engineers, sociologists and political scientists in the field, including Bruno S. Frey, Tommy Gorling, Peter Jones, Jos Viegas, Tony May, Stef Proost, and other authors. The second aim is to look deeper into the question of which determinants influence the amount of acceptability. A third aim deals with chances to overcome the lack of public and political acceptability, to bring together the most advanced state of the art and to propose forthcoming and possible solutions for implementing different kinds of travel demand management measures including pricing. The book is based upon papers presented at the MC ICAM conference on Acceptability of Transport Pricing Strategies, held in Dresden, 23-24 May, 2002. It is divided into four parts, Setting the Stage: Acceptability Problem, European Research Results, Behind Public Acceptability: Relevant Determinants, and Political Acceptability, and tackles several relevant parts from a theoretical as well as from a practical viewpoint by asking questions like: how to explain the different levels of public acceptability of various travel demand management measures? Which factors influence the level of acceptability? How to deal with political acceptability problems? What should future implementation approaches look like from the point of view of acceptability?

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An architect without being one, an anomalous designer, a gifted draftsman and collector of objects, Luca Meda (1936-1998) wrote one of the most important chapters in the history of 20th-century Italian design. The world of domestic interiors was his privileged field of action, and the very close, one-of-a-kind relationship with Molteni&C has provided, since the seventies, an example of perfect symbiosis between creativity and business, art and industry. Among the pieces of furniture that have become iconic are the Piroscafo bookcase designed together with Aldo Rossi, the Zim and Ho chairs, the Vivette armchair, the Primafila sofa and the modular systems 505 and Pass. This publication offers an exhaustive portrait of Luca Meda, at long last highlighting the importance and extent of his production - which includes furniture, installations, architectural projects and design objects of all sorts - in the context of a still pioneering season of Italian design, but to whom we nevertheless owe the subsequent success on the world stage. The historical-critical essays dedicated to his work are accompanied by a series of interviews with collaborators and friends who shared knowledge and practice in the realisation of his projects, as well as the re-edition of an interview with Meda himself, published on “Gap casa” in 1983. Bio-bibliographical appendix and a list of works complete the fascinating journey of the volume. Critical essays: Serena Maffioletti, Alberto Ferlenga, Sofia Meda, Nicola Braghieri, Beatrice Lampariello, Rosa Chiesa, Giampiero Bosoni e Chiara Lecce, Dario Scodeller, Mario Piazza. Interviews: Luca Meda, Romano Barchi, Mario Carrieri, Nicola Gallizia, Eliana Gerotto, Peter Hefti, Felix Humm, Laura Maifreni, Bruno Longoni, Carlo Molteni, Diego Peverelli, Richard Sapper, Filippo Zagni. Text in English and Italian.

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This is not another treatise on the heroic nature of the Jeffersonian imagination. Rather, it offers another reading generated by Joseph Campbell's reluctant hero in The Hero of A Thousand Faces as offered by Jeffrey Hildner in his prescient Epilogue Labyrinth R.U.N. It is rather weaving fictions, constructing dialogues, (Rashomon) again and again on Jefferson as boy/man, as adolescent, as dreamer and instrumental explorer of here and there, close at hand and worlds long, long ago and far, far away. This is a collection of meanders, speculations, fog-bound as well as iridescent. The fact may be that Jefferson was a farmer and politician, but highlighted here was that at thirteen he was an adolescent first, orphaned sooner than later as was common at the edge of the Arcadian Wild, as were Romulus and Remus, but custodian of terrains, knowledge and human energy. He was a Surveyor, Nomad and given his penchant for oculi and mirrors, a certifiable Lunatic. This is a book on American Pragmaticism and self-evident truths in a new culture of Life, Liberty and the Pursuit of Happiness rooted in the promise of Eden and the enduring resistance of Jerusalem, articulated by William McClung in The Literary Legacy of An Architecture of Paradise. We aligned ourselves with contemporary philosophical debates benchmarked by Andre Gide and Bruno Latour which posit that previously called Ancient if not Archaic belief systems might hold self-evident truths coincidental with contemporary survival systems of sustainability once called common sense, grounded in the recurrent dualities of Architecture. This is a philosophical work framed on epistemological and ethical questions, sustained by Joseph Campbell in The Hero of a Thousand Faces. It also seeks to identify the contemporary vitality of American cultural history and contemporary topographic landscapes.

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Few photography books can lay claim to being truly groundbreaking. The first edition of Magnum Contact Sheets was one of them. This exceptional book, presented here in a new, accessible format for the first time, reveals how Magnum photographers capture and edit the very best shots. Addressing key questions of photographic practice - was the final image a set-up, or a serendipitous encounter; did the photographer work diligently to extract the potential from a situation, or was the fabled 'decisive moment' at play? - this book lays bare the creative methods, strategies and editing processes behind some of the world's most iconic images. 139 contact sheets, representing 69 photographers, are featured, as well as zoom-in details, selected photographs, press cards, notebooks and spreads from contemporary publications, including Life magazine and Picture Post. Further insight into each contact sheet is provided by texts written by the photographers themselves or by experts chosen by members' estates. Many acknowledged greats of photography are included, such as Henri Cartier-Bresson, Elliott Erwitt and Inge Morath, as well as Magnum's latest generation, such as Jonas Bendiksen, Alessandra Sanguinetti and Alec Soth. These photographers cover over seventy years of history, from the Normandy landings by Robert Capa, the Paris riots of 1968 by Bruno Barbey and war in Chechnya by Thomas Dworzak to images of Che Guevara by Rene Burri, Malcolm X by Eve Arnold and clasic New Yorkers by Bruce Gilden. This landmark book, published just as the shift to digital photography threatens to render the contact sheet obsolete, celebrates the sheet as artifact, as personal and historic record, as invaluable editing tool, and as a fascinating way of accompanying great photographers as they work towards, and capture, the most enduring images of our time.

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It is a widespread prejudice of modern, scientific society that "magic" is merely a ludicrous amalgam of recipes and methods derived from primitive and erroneous notions about nature. Eros and Magic in the Renaissance challenges this view, providing an in-depth scholarly explanation of the workings of magic and showing that magic continues to exist in an altered form even today. Renaissance magic, according to Ioan Couliano, was a scientifically plausible attempt to manipulate individuals and groups based on a knowledge of motivations, particularly erotic motivations. Its key principle was that everyone (and in a sense everything) could be influenced by appeal to sexual desire. In addition, the magician relied on a profound knowledge of the art of memory to manipulate the imaginations of his subjects. In these respects, Couliano suggests, magic is the precursor of the modern psychological and sociological sciences, and the magician is the distant ancestor of the psychoanalyst and the advertising and publicity agent. In the course of his study, Couliano examines in detail the ideas of such writers as Giordano Bruno, Marsilio Ficino, and Pico della Mirandola and illuminates many aspects of Renaissance culture, including heresy, medicine, astrology, alchemy, courtly love, the influence of classical mythology, and even the role of fashion in clothing. Just as science gives the present age its ruling myth, so magic gave a ruling myth to the Renaissance. Because magic relied upon the use of images, and images were repressed and banned in the Reformation and subsequent history, magic was replaced by exact science and modern technology and eventually forgotten. Couliano's remarkable scholarship helps us to recover much of its original significance and will interest a wide audience in the humanities and social sciences.

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“The serene and gentle amazement with which [Scheerbart] tells of the strange natural laws of other worlds . . . makes him one of those humorists who, like Lichtenberg or Jean Paul, seem never to forget that the earth is a heavenly body.” —Walter Benjamin First published in German in 1913 and widely considered to be Paul Scheerbart’s masterpiece, Lesabéndio is an intergalactic utopian novel that describes life on the planetoid Pallas, where rubbery suction-footed life forms with telescopic eyes smoke bubble-weed in mushroom meadows under violet skies and green stars. Amid the conveyor-belt highways and lighthouses weaving together the mountains and valleys, a visionary named Lesabéndio hatches a plan to build a 44-mile-high tower and employ architecture to connect the two halves of their double star. A cosmic ecological fable, Scheerbart’s novel was admired by such architects as Bruno Taut and Walter Gropius, and such thinkers as Walter Benjamin and Gershom Scholem (whose wedding present to Benjamin was a copy of Lesabéndio). Benjamin had intended to devote the concluding section of his lost manuscript “The True Politician” with a discussion of the positive political possibilities embedded in Scheerbart’s “Asteroid Novel.” As translator Christina Svendsen writes in her introduction, “Lesabéndio helps us imagine an ecological politics more daring than the conservative politics of preservation, even as it reminds us that we are part of a larger galactic set of interrelationships.” This volume includes Alfred Kubin’s illustrations from the original German edition. Paul Scheerbart (1863–1915) was a novelist, playwright, poet, newspaper critic, draftsman, visionary, proponent of glass architecture and would-be inventor of perpetual motion, who wrote fantastical fables and interplanetary satires that were to influence Expressionist authors and the German Dada movement, and which helped found German science fiction.

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Historical ethnomusicology is increasingly acknowledged as a significant emerging subfield of ethnomusicology due to the fact that historical research requires a different set of theories and methods than studies of contemporary practices and many historiographic techniques are rapidly transforming as a result of new technologies. In 2005, Bruno Nettl observed that “the term ‘historical ethnomusicology’ has begun to appear in programs of conferences and in publications” (Nettl 2005, 274), and as recently as 2012 scholars similarly noted “an increasing concern with the writing of musical histories in ethnomusicology” (Ruskin and Rice 2012, 318). Relevant positions recently advanced by other authors include that historical musicologists are “all ethnomusicologists now” and that “all ethnomusicology is historical” (Stobart, 2008), yet we sense that such arguments—while useful, and theoretically correct—may ultimately distract from careful consideration of the kinds of contemporary theories and rigorous methods uniquely suited to historical inquiry in the field of music. In Theory and Method in Historical Ethnomusicology, editors Jonathan McCollum and David Hebert, along with contributors Judah Cohen, Chris Goertzen, Keith Howard, Ann Lucas, Daniel Neuman, and Diane Thram systematically demonstrate various ways that new approaches to historiography––and the related application of new technologies––impact the work of ethnomusicologists who seek to meaningfully represent music traditions across barriers of both time and space. Contributors specializing in historical musics of Armenia, Iran, India, Japan, southern Africa, American Jews, and southern fiddling traditions of the United States describe the opening of new theoretical approaches and methodologies for research on global music history. In the Foreword, Keith Howard offers his perspective on historical ethnomusicology and the importance of reconsidering theories and methods applicable to this field for the enhancement of musical understandings in the present and future.

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Ask Americans to think of a famous architect and the person they are most likely to name is Frank Lloyd Wright. Wright's work, his reputation, and his long and colorful career have made him an icon of modern American architecture. But despite his status as America's most celebrated architect, his influence throughout an active practice spanning the years 1896 to 1959 is so wide and complex that it has been difficult to grasp fully. The essays in this book look not at the United States, the context usually associated with Wright, but at countries around the globe. Anthony Alofsin has assembled a superb collection of scholars to examine Wright's importance from Japan to Great Britain, France to Chile, Mexico to Russia, and the Middle East. Interwoven in the essays are stories of champions and critics, rivals and acolytes, books and exhibitions, attitudes toward America and individualism, and the many ways Wright's ideas were brought to the world. Together the essays represent a first look at Wright's impact abroad, some from the perspective of natives of the countries discussed and others from that of informed outsiders. Of special note is Bruno Zevi's firsthand account of traveling with Wright in Italy. Zevi was instrumental in bringing Wright's ideas to Italy and in helping launch the movement for organic architecture. Of unusual interest in light of today's events in Iraq is Mina Marefat's essay on Wright's elaborate designs for a cultural center for the city of Baghdad. The Baghdad projects, which were never realized after the assassination of King Faisal II, were Wright's principal focus in his last decade. In searching out the little known rather than reexamining the well-established aspects of Frank Lloyd Wright's work, this collection is a rewarding exploration of his vision and influence.

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On Courage is a collection of twenty-eight moving and inspirational stories of valour displayed by recipients of the Victoria Cross and George Cross. *£2.70 of the publisher's RRP of all copies of this book sold in the United Kingdom and Republic of Ireland will be donated to Combat Stress.*WITH CONTRIBUTIONS FROM:Alexander Armstrong, Baroness Hale, Bear Grylls, Bill Beaumont, Bobby Charlton, Katherine Grainger, Kelly Holmes, Derek Jacobi, Eddie Redmayne, Frank Bruno, Geoffrey Palmer, Jeremy Irons, Joanna Kavenna, Joanna Lumley, John Simpson, Joseph Calleja, Julian Fellowes, Kate Adie, Ken Dodd, Margaret MacMillan, Mark Pougatch, Mary Berry, Michael Whitehall and Jack Whitehall, Miranda Hart, Richard Chartres, Tom Ward, Will Greenwood, and Willie Carson.From RAF flight engineer Norman Jackson, who climbed out onto the wing of a Lancaster bomber in flight to put out a fire, using a twisted parachute as a rope, on the night his first child was born; children's writer turned Assistant Section Officer Noor Inayat-Khan, who was the first female operator to infiltrate occupied France and refused to abandon what had become the most dangerous post in the country; to Irish seaman and Antarctic explorer Tom Crean, who struck out alone for a supply depot during Captain Scott's expedition to the South Pole to save the life of his ailing companion, these courageous men and women are an inspiration to us all. Written by leading historians and authors Tom Bromley, Saul David, Paul Garlington, James Holland and Dr Spencer Jones, these incredible accounts tell of the recipients' determination and selfless actions in times of war. Each story is introduced by a public figure, including Mary Berry, Bear Grylls, Sir Bobby Charlton, Joanna Lumley, Eddie Redmayne and the late Sir Ken Dodd.

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The 1998 Volume on the regulation of communications markets is the third in a successful series of European Competition Law Annuals,founded upon open dialogue between technical experts, market analysts and legal practitioners. Gathering together academic papers and edited transcripts of expert discussions, it offers readers a lively and informed insight into the topical debate of whether governments, or the European Union, should intervene to prevent powerful firms from abusing their control of critical 'gateways' between consumers and communication information services. The Volume examines the technical and market evolutions that have allowed the development of single communications networks, which offer consumers a variety of telephone, audio-visual and computer data services. In an era of market liberalisation, the editors and contributors ask how private ownership of such communications networks may be reconciled with the need to ensure consumers easy access to the services that underpin our, so-called, 'information society'. Table of Contents Introduction - Claus D. Ehlermann Biographical Notes on the Participants Panel One: Regulating Access to Bottlenecks 1 Panel Discussion 2 Working Papers - Fod Barnes, Bernard Amory and Alexandre Verheyden, Jens Arnbak, Henry Ergas, Herbert Hovenkamp, Gunter Knieps, Daniel Rubinfield and Robert Majur, Joachim Scherer, Herbert Hungerer, James Venit Panel Two: Agreements, Integration and Structural Remedies 1 Panel Discussion 2 Working Papers - Mark Armstrong, Donald Baker, Eleanor Fox, Barry Hawk, Colin Long, Michael Reynolds, Alexander Schaub, Klaus-Dieter Scheurle, Mario Siragusa Panel Three: Institutions and Competence 1 Panel Discussion 2 Working Papers - Ulrich Immenga, Stuart Brotman, Ian Forrester, Frederic Jenny, Bruno Lasserre, Santiago Martinez Lage and Helmut Brokelmann, James Rill, Mary Jean Fell, Richard Park and Sarah Bauers, Giuseppe Tesauro, Robert Verrue, Peter Waters, David Stewart and Andrew Simpson, Dieter Wolf, Dimitri Ypsilanti Afterword - Louisa Gosling

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