Search results for ""author jean"

Jean-Michel Basquiat's stark and bold work titled: Pez Dispenser from 1984 is reproduced in our luxurious Mini Notebook with yellow edge pages. Our Mini Notebooks are full colour hardcover pocket sized books featuring special features like bright edge accents. The paper is lightly printed with a dot-grid, perfect for note taking, list making and doodling. 120 pages, lightly printed with a dot-grid Portable size 127 x 89 mm Hardcover Very portable and eye-catching in lots of designs. We love Jean-Michel Basquiat's Dinosaur.

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'A moving novel with unforgettable characters' - Closer 'A brilliant read' - BellaSometimes you have to fall apart to become whole again... Kate is a successful interior designer with two wonderful kids. Kate is also a recent widow, a grieving daughter and worrying about how to pay the bills. Her life might look perfect from the outside, but making things look better than they are is just how Kate copes. Her mother, Jean, worries about her - but she has her own problems. A mystery from the past has come back to haunt her, and she decides now is the time to put the pieces together. When romance makes an appearance in both their lives, can mother and daughter lay the past to rest - and begin again?'A great piece of storytelling - it swept me away' Sue Moorcroft on A Gift in December

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Originally released as a videographic experiment in film history, Jean-Luc Godard's Histoire(s) du cinéma has pioneered how we think about and narrate cinema history, and in how history is taught through cinema. In this stunningly illustrated volume, Michael Witt explores Godard's landmark work as both a specimen of an artist's vision and a philosophical statement on the history of film. Witt contextualizes Godard's theories and approaches to historiography and provides a guide to the wide-ranging cinematic, aesthetic, and cultural forces that shaped Godard's groundbreaking ideas on the history of cinema.

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Text in French & English. Even though his viaducts for the TGV Atlantic line and several innovative projects rapidly brought him national recognition, Jean-Yves Barrier, who set up his own practice in Tours in 1990, managed to avoid involvement in fashions and trends. Whether he is dealing with homes, public facilities, offices, industrial buildings or shop design, Barrier approaches each project with a fresh eye, and tries to come up with a powerful idea that is then expressed spontaneously in his sketches. His initial insight is developed in very precise studies, bringing an architectural approach to the technical details. The originality of his buildings is inevitably associated with the renewal of form, a great variety of subjects and blending materials in a way that exploits the value of each to optimise the construction as a whole. Even though he was one of the first to realise a solar building (1978), an automated house (1990) and a low-energy apartment block (2001), these technical innovations are not his chief concern. The essential feature for Barrier is the correctness of the response applied to the programme and to the context, with consistent respect for the users. He combines generosity in his human contacts with rigour in conception and realisation. In all his exchanges with contractors, engineers, workmen and users, his taste for dialogue promotes a climate of confidence that enables every project to find its own distinctive quality.

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The chronicles of Jean le Bel are one of the most important sources for the beginning of the Hundred Years' War. This is the first English translation of a work written from eyewitness accounts and personal experience. The chronicles of Jean le Bel, written around 1352-61, are one of the most important sources for the beginning of the Hundred Years' War. They were only rediscovered and published at the beginning of the twentieth century, thoughFroissart begins his much more famous work by acknowledging his great debt to the "true chronicles" which Jean le Bel had written. Many of the great pages of Froissart are actually the work of Jean le Bel, and this is the first translation of his book. It introduces English-speaking readers to a vivid text written by a man who, although a canon of the cathedral at Liège, had actually fought with Edward III in Scotland, and who was a great admirer of the English king. He writes directly and clearly, with an admirable grasp of narrative; and he writes very much from the point of view of the knights who fought with Edward. Even as a canon, he lived in princely style, with a retinue oftwo knights and forty squires, and he wrote at the request of John of Hainault, the uncle of queen Philippa. He was thus able to draw directly on the verbal accounts of the Crécy campaign given to him by soldiers from Hainault who had fought on both sides; and his description of warfare in Scotland is the most realistic account of what it was like to be on campaign that survives from this period. If he succumbs occasionally to a good story from one of theparticipants in the wars, this helps us to understand the way in which the knights saw themselves; but his underlying objective is to keep "as close to the truth as I could, according to what I personally have seen and remembered, and also what I have heard from those who were there". Edward may be his hero, a "gallant and noble king", but Le Bel tells the notorious story of his supposed rape of the countess of Salisbury because he believed it to be true,puzzled and shocked though he was by his material. It is a text which helps to put the massive work of Jean Froissart in perspective, but its concentrated focus and relatively short time span makes it a much more approachable and highly readable insight into the period.

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Jean Prouvé began to design portable and demountable barracks for the French army during the Second World War. After the war, the French government commissioned Prouvé to design inexpensive, effective housing for the newly homeless, prompting him to perfect his patented axial portal frame to build easily constructed demountable houses. Few of these groundbreaking structures were built, making them exceedingly rare today—prompting Galerie Patrick Seguin’s tireless efforts over the past 27 years to preserve and promote these important designs. The gallery owns the largest collection of Prouvé’s demountables, 22 in total. This volume focuses on his Metropole Demountable House, and is luxuriously illustrated with archival and contemporary photographs. Though lacking any formal education in architecture, Jean Prouvé (1901–84) became one of the most influential architects of the 20th century, boldly experimenting with new building designs, materials and methods. “His postwar work has left its mark everywhere,” wrote Le Courbusier, “decisively.”

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This volume focuses on the relational aspect of Jean-Luc Nancy’s thinking. As Nancy himself showed, thinking might be a solitary activity but it is never singular in its dimension. Building on or breaking away from other thoughts, especially those by thinkers who had come before, thinking is always plural, relational. This “singular plural” dimension of thought in Nancy’s philosophical writings demands explication. In this book, some of today’s leading scholars in the theoretical humanities shed light on how Nancy’s thought both shares with and departs from Descartes, Hegel, Marx, Heidegger, Weil, Lacan, Merleau-Ponty, and Lyotard, elucidating “the sharing of voices,” in Nancy’s phrase, between Nancy and these thinkers. Contributors: Georges Van Den Abbeele, Emily Apter, Rodolphe Gasché, Werner Hamacher, Eleanor Kaufman, Marie-Eve Morin, Timothy Murray, Jean-Luc Nancy, and John H. Smith

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Adapting Philosophy looks at the ways in which The Matrix Trilogy adapts Jean Baudrillard’s Simulacra and Simulation, and in doing so creates its own distinctive philosophical position. Where previous work in the field has presented the trilogy as a simple ‘beginner’s guide’ to philosophy, this study offers a new methodology for inter-relating philosophy and film texts, focusing on the conceptual role played by imagery in both types of text. This focus on the figurative enables a new-found appreciation of the liveliness of philosophical writing and the multiple philosophical dimensions of Hollywood films. The book opens with a critical overview of existing philosophical writing on The Matrix Trilogy and goes on to draw on adaptation theory and feminist philosophy in order to create a new methodology for interlinking philosophical and filmic texts. Three chapters are devoted to detailed textual analyses of the films, tracing the ways in which the imagery that dominates Baudrillard’s writing is adapted and transformed by the trilogy’s complex visuals and soundtrack. The conclusion situates the methodology developed throughout the book in relation to other approaches currently emerging in the new field of Film-Philosophy. The book’s multi-disciplinary approach encompasses Philosophy, Film Studies and Adaptation Theory and will be of interest to undergraduates and postgraduates studying these subjects. It also forms part of the developing interdisciplinary field of Film-Philosophy. The detailed textual analyses of The Matrix Trilogy will also be of interest to anyone wishing to deepen their understanding of the multi-faceted nature of this seminal work.

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Boats on the Marne offers an original interpretation of Jean Renoir's celebrated films of the 1930s, treating them as a coherent narrative of philosophical response to the social and political crises of the times. Grounded in a reinterpretation of the foundational film-philosopher André Bazin, and drawing on work from a range of disciplines (film studies, art history, comparative literature, political and cultural history), the book's coordinated consideration of Renoir's films, writings, and interviews demonstrates his obsession with the concept of romanticism. Renoir saw romanticism to be a defining feature of modernity, a hydra-headed malady which intimately shapes our personal lives, culture, and politics, blinding us and locking us into agonistic relationships and conflict. While mapping the popular manifestations of romanticism that Renoir engaged with at the time, this study restores the philosophic weight of his critique by tracing the phenomenon back to its roots in the work and influence of Jean-Jacques Rousseau, who first articulated conceptions of human desire, identity, community, and history that remain pervasive today. Prakash Younger argues that Renoir's films of the 1930s articulate a multi-stranded narrative through which the director thinks about various aspects of romanticism and explores the liberating possibilities of an alternative paradigm illuminated by the thought of Plato, Montaigne, and the early Enlightenment. When placed in the context of the long and complex dialogue Renoir had with his audience over the course of the decade, masterpieces such as La Grande Illusion and La Règle du Jeu reveal his profound engagement with issues of political philosophy that are still very much with us today.

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There is no question that the Bauhaus was the most influential institution on architecture in the twentieth century. But does this aesthetic legacy live on in buildings? In what shape do we encounter it today, after about 100 years, in changing cityscapes? The photographer Jean Molitor has examined this question in depth all around the world. In his new illustrated volume bau2haus, he tracks the architecture that owes something to the Bauhaus and its special style across the globe. In strongly contrasted black-and-white photographs he draws attention to these fascinating structures. Selected with a meticulous eye, the photos play with perspective, perfectly balancing the openness and existing volume of each building. The result is a vivid history of architecture that readers will hardly be able to get enough of.

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Boats on the Marne offers an original interpretation of Jean Renoir's celebrated films of the 1930s, treating them as a coherent narrative of philosophical response to the social and political crises of the times. Grounded in a reinterpretation of the foundational film-philosopher André Bazin, and drawing on work from a range of disciplines (film studies, art history, comparative literature, political and cultural history), the book's coordinated consideration of Renoir's films, writings, and interviews demonstrates his obsession with the concept of romanticism. Renoir saw romanticism to be a defining feature of modernity, a hydra-headed malady which intimately shapes our personal lives, culture, and politics, blinding us and locking us into agonistic relationships and conflict. While mapping the popular manifestations of romanticism that Renoir engaged with at the time, this study restores the philosophic weight of his critique by tracing the phenomenon back to its roots in the work and influence of Jean-Jacques Rousseau, who first articulated conceptions of human desire, identity, community, and history that remain pervasive today. Prakash Younger argues that Renoir's films of the 1930s articulate a multi-stranded narrative through which the director thinks about various aspects of romanticism and explores the liberating possibilities of an alternative paradigm illuminated by the thought of Plato, Montaigne, and the early Enlightenment. When placed in the context of the long and complex dialogue Renoir had with his audience over the course of the decade, masterpieces such as La Grande Illusion and La Règle du Jeu reveal his profound engagement with issues of political philosophy that are still very much with us today.

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'One of the greatest books about growing up' James Wood, Guardian'You girls are my vocation . . . I am dedicated to you in my prime'Miss Jean Brodie is a schoolmistress with a difference. She is proud, cultured and romantic but her educational ideas are highly progressive and even deeply shocking. So when she decides to transform a group of 'special girls' into the crème de la crème at Marcia Blaine School they are soon known, perhaps suspiciously, as the Brodie set.Introduced to an unsettling world of adult games and curious intrigues, the Brodie Set know that they are privileged. Yet there is a price to pay - they must give Miss Brodie their undivided loyalty . . .'The most gifted and innovative British novelist of her generation' David Lodge, The New York Times'Spark's novels linger in the mind as brilliant shards' John Updike, New Yorker

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Imposture is an abuse of power. It is the act of lying for one's own benefit, of disguising the truth in order to mislead. For Jean-Jacques Rousseau, however, imposture is first and foremost power itself. In On Imposture, French philosopher Serge Margel explores imposture within Rousseau's Discourses, Confessions, and Emile. For Rousseau, taking power, using it, or abusing it are ultimately one and the same act. Once there's power, and someone grants themselves the means, the right, and the authority to force another's beliefs or actions, there is imposture. According to Rousseau, imposture can be found through human history, society, and culture. Using a deconstructionist method in the classic manner of Derrida, On Imposture explores Rousseau's thought concerning imposture and offers a unique analysis of its implications for politics, civil society, literature, and existentialist thought.

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This first major monograph on cabinetmaker Jean-Henri Riesener traces his life and career, bringing new insights into his business practice, designs and construction techniques. Jean-Henri Riesener (1734–1806) was one of the greatest French cabinetmakers of all time. From humble beginnings as a German immigrant in Paris, he found fame through the delivery of a magnificent roll-top desk to Louis XV in 1769. He went on to become Marie-Antoinette’s favourite cabinetmaker, supplying the queen and the court of Louis XVI with sumptuous furniture of superb quality. Renowned for his exquisite marquetry and refined designs, his pieces were ornamented with spectacular gilt-bronze mounts made by some of the greatest metalworkers in Paris. In the nineteenth century, Riesener’s name became associated with the very best of Louis XVI-period French furniture. His pieces continue to be highly sought after and are found in major museums worldwide. Based on the extensive collections of Riesener furniture in the Wallace Collection, Waddesdon Manor and the Royal Collection, the authors examine the objects and their history, and highlight the changing tastes of the nineteenth-century collectors who acquired so many former French royal pieces. The new illustrations and visual glossary add another important resource for art historians, decorative arts enthusiasts and furniture lovers.

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The first comprehensive collection of the words and works of a movement-defining artist. Jean-Michel Basquiat (1960–1988) burst onto the art scene in the summer of 1980 as one of approximately one hundred artists exhibiting at the 1980 Times Square Show in New York City. By 1982, at the age of twenty-one, Basquiat had solo exhibitions in galleries in Italy, New York, and Los Angeles. Basquiat's artistic career followed the rapid trajectory of Wall Street, which boomed from 1983 to 1987. In the span of just a few years, this Black boy from Brooklyn had become one of the most famous American artists of the 1980s. The Jean-Michel Basquiat Reader is the first comprehensive sourcebook on the artist, closing gaps that have until now limited the sustained study and definitive archiving of his work and its impact. Eight years after his first exhibition, Basquiat was dead, but his popularity has only grown. Through a combination of interviews with the artist, criticism from the artist's lifetime and immediately after, previously unpublished research by the author, and a selection of the most important critical essays on the artist's work, this collection provides a full picture of the artist's views on art and culture, his working process, and the critical significance of his work both then and now.

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The first comprehensive collection of the words and works of a movement-defining artist. Jean-Michel Basquiat (1960–1988) burst onto the art scene in the summer of 1980 as one of approximately one hundred artists exhibiting at the 1980 Times Square Show in New York City. By 1982, at the age of twenty-one, Basquiat had solo exhibitions in galleries in Italy, New York, and Los Angeles. Basquiat's artistic career followed the rapid trajectory of Wall Street, which boomed from 1983 to 1987. In the span of just a few years, this Black boy from Brooklyn had become one of the most famous American artists of the 1980s. The Jean-Michel Basquiat Reader is the first comprehensive sourcebook on the artist, closing gaps that have until now limited the sustained study and definitive archiving of his work and its impact. Eight years after his first exhibition, Basquiat was dead, but his popularity has only grown. Through a combination of interviews with the artist, criticism from the artist's lifetime and immediately after, previously unpublished research by the author, and a selection of the most important critical essays on the artist's work, this collection provides a full picture of the artist's views on art and culture, his working process, and the critical significance of his work both then and now.

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Winner of seven Molières, the Pulitzer Prize of France, Jean-Claude Grumberg is one of France’s leading dramatists and a distinguished voice of modern European Jewry after the Shoah. His success in portraying contemporary Parisian Jews on the stage represents a new development in European theater and a new aesthetic expression of European Jewish experience and sensibility of the Holocaust and its aftermath, a perspective quite different from either the American or the Israeli one. Grumberg’s Jews are French to their fingertips, yet they have been made more consciously Jewish by the war and the difficulties of reintegrating into a society in which too many neighbors denounced them or ignored their pleas to save their children. Affirming the new status of Jewish culture, Grumberg’s plays insist on the recognition of Jewish identity and uniqueness within the majority societies of Europe.This volume offers the first English translation of three of Grumberg’s prize-winning plays: The Workplace (L’Atelier, 1979), On the Way to the Promised Land (Vers toi Terre promise, 2006) and Mama’s Coming Back, Poor Orphan (Maman revient, pauvre orphelin, 1994). Presented in the order of the history they record and steeped in Grumberg’s personal experience and insights into contemporary Parisian life, these plays serve as documentary witnesses that begin with the immediate postwar reality and continue up to the end of the twentieth century. Seth Wolitz provides notes on the plays’ themes, structures, characters, and settings, along with an introduction that discusses Grumberg’s place within the emergence of French-Jewish drama and a translation of an interview with the playwright himself.

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Keep the page in your book with this gorgeous pack of 10 foiled bookmarks, printed on both sides, with a silky ribbon and featuring Jean and Ron Henry’s Fairy Story. Paintings of mythological creatures such as angels, cupids and fairies offer both the artist and the audience a glimpse into worlds of wonder. There is a long tradition of portraying fairies in art, and Jean and Ron Henry’s Fairy Story is a charming, modern slant on the fairy world.

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In this second volume of the unparalleled exposition of Rousseau's life and works, Cranston completes and corrects the story told in Rousseau's Confessions, and offers a vivid, entirely new history of his most eventful and productive years. "Luckily for us, Maurice Cranston's The Noble Savage: Jean-Jacques Rousseau, 1754-1762 has managed to craft a highly detailed account of eight key years of Rousseau's life in such a way that we can both understand and even, on occasion, sympathize."—Olivier Bernier, Wall Street JournalMaurice Cranston (1920-1993), a distinguished scholar and recipient of the James Tait Black Memorial Prize for his biography of John Locke, was professor of political science at the London School of Economics. His numerous books include The Romantic Movement and Philosophers and Pamphleteers, and translations of Rousseau's The Social Contract and Discourse on the Origins of Inequality.

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This is the revised edition of Patrick Seguin's 2013 volume on Jean Prouvé's Maison Démontable 6x6 Demountable House. It includes new images and layout. At the end of the Second World War, Prouvé began designing temporary houses for the homeless in Lorraine and Franche-Comté in eastern France, using his patented axial frame as the basis for modules of various sizes.

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"[A Commentary on Jean-Paul Sartre's Being and Nothingness] represents, I believe, a very important beginning of a deservingly serious effort to make the whole of Being and Nothingness more readily understandable and readable. . . . In his systematic interpretations of Sartre's book, [Catalano] demonstrates a determination to confront many of the most demanding issues and concepts of Being and Nothingness. He does not shrink—as do so many interpreters of Sartre—from such issues as the varied meanings of 'being,' the meaning of 'internal negation' and 'absolute event,' the idiosyncratic senses of transcendence, the meaning of the 'upsurge' in its different contexts, what it means to say that we 'exist our body,' the connotation of such concepts as quality, quantity, potentiality, and instrumentality (in respect to Sartre's world of 'things'), or the origin of negation. . . . Catalano offers what is doubtless one of the most probing, original, and illuminating interpretations of Sartre's crucial concept of nothingness to appear in the Sartrean literature."—Ronald E. Santoni, International Philosophical Quarterly

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These vibrant Mélanges bring together texts by colleagues and friends to celebrate the life and work of an exceptional scientist, Jean-Loïc Le Quellec. Through the diversity of its contributions, this book bears witness to the transdisciplinarity, rigour and benevolence that characterise this great scientist. From epistemological reflections to scientific studies, memories, drawings and poems, each author makes his or her own contribution to this passionate and fascinating figure. This collection is an ode to curiosity, open-mindedness and scientific rigour, values that Jean-Loïc Le Quellec has passionately defended throughout his career.

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Jean-Luc Marion's theory of saturated phenomena is one of the most exciting developments in phenomenology in recent decades. It opens up new possibilities for understanding phenomena by beginning from rich and complex examples such as revelation and works of art. Rather than being curiosities or exceptions, these "excessive" or "saturated" phenomena are, in Marion's view, paradigms. He understands more straightforward phenomena, such as the objects of the natural sciences, as reduced and impoverished versions of the excess given in saturated phenomena. Interpreting Excess is a systematic and comprehensive study of Marion's texts on saturated phenomena and their place in his wider phenomenology of givenness, tracing both his theory and his examples across a wide range of texts spanning three decades. The author argues that a rich hermeneutics is implicit in Marion's examples of saturated phenomena but is not set out in his theory. This hermeneutics makes clear that attempts to overthrow the much-criticized sovereignty of the Cartesian ego will remain unsuccessful if they simply reverse the subject-object relation by speaking of phenomena imposing themselves with an overwhelming givenness on a recipient. Instead, phenomena should be understood as appearing in a hermeneutic space already opened by a subject's active reception. Thus, a phenomenon's appearing depends not only on its givenness but also on the way it is interpreted by the receiving subject. All phenomenology is, therefore, necessarily hermeneutic. Interpreting Excess provides an indispensable guide for any study of Marion's saturated phenomena. It is also a significant contribution to ongoing debates about philosophical ways of thinking about God, the relation between hermeneutics and phenomenology, and philosophy "after the subject."

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In the first volume of his trilogy, noted political philosopher Maurice Cranston draws from original manuscript sources to trace Rousseau's life from his birth in provincial obscurity in Geneva, through his youthful wanderings, to his return to Geneva in 1754 as a celebrated writer and composer."[An] admirable biography which is as meticulous, calm, reasonable, and judicious as its subject is passionate and tumultuous."—Keith Michael Baker, Washington Post Book World"The definitive biography, as scholarly as it is entertaining."—The Economist"Exceptionally fresh . . . . [Cranston] seems to know exactly what his readers need to know, and thoughtfully enriches the background—both physical and intellectual—of Rousseau's youthful peregrinations . . . . He makes the first part of Rousseau's life as absorbing as a picaresque novel. His fidelity to Rousseau's ideas and to his life as it was lived is a triumph of poise."—Naomi Bliven, The New Yorker"The most outstanding achievement of Professor Cranston's own distinguished career."—Robert Wokler, Times Literary SupplementMaurice Cranston (1920-1993), a distinguished scholar and recipient of the James Tait Black Memorial Prize for his biography of John Locke, was professor of political science at the London School of Economics. His numerous books include The Romantic Movement and Philosophers and Pamphleteers, and translations of Rousseau's The Social Contract and Discourse on the Origins of Inequality.

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This title compares classic star Billie Jean King and contemporary champion Serena Williams. From serving and volleying to forehand and backhand, chapters explore and compare each player’s skills on the court. The title also features end-of-chapter fact boxes for side-by-side player comparison, as well as a glossary. It will be up to the reader to decide who is the all-time tennis hero.

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The two essays in the volume follow a long tradition in critical discourse that turns to Art's domain as a source of inspiration, instruction, and as material for the construction of its concepts and the development of its problems. The case study of Suite Grunewald, 159+1 variations, by the artist Titus-Carmel, returns to a subject that has been eclipsed in past decades by the imperative to remember: namely, the creation of the new as an event, or rather, the event of the new as creation. This is an especially vexatious problem following, on the one hand, the massive displacement of the subject as the author and creator of its works and, on the other, the introduction of the influential Deleuzian-Bergsonian notion of the new as immanent continuity rather than -- as the commonsense notion would have it -- a rupture, interruption, and discontinuity. The first essay develops this problematic by working alongside with Titus-Carmel variations / deconstruction of Grunewald's original painting of the "Crucifixion" as an exemplary site where the creation of the new -- at once incalculable and necessary -- finds a living and urgent expression. The second essay stages an encounter and sets free the resonances between the writing of Jean-Luc Nancy on and around the "body" and the cinema of Claire Denis as a cinema that mobilises the force of bodies that it itself invents, and to which it gives a unique form of presence.

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Few people can claim to have had minds as fertile and creative as the French philosopher Jean-Jacques Rousseau. One of the most influential political theorists of the modern age, he was also a composer and writer of opera, a novelist, and a memoirist whose Confessions ranks as one of the most striking works of autobiography ever written. Like many creative thinkers, Rousseau was someone whose restless mind could not help questioning accepted orthodoxies and looking at matters from novel and innovative angles. His 1762 treatise The Social Contract does exactly that. Examining the nature and sources of legitimate political power, it crafted a closely reasoned and passionately persuasive argument for democracy at a time when the most widely accepted form of government was absolute monarchy, legitimised by religious beliefs about the divine right of kings and queens to rule. In France, the book was banned by worried Catholic censors; in Rousseau’s native Geneva, it was both banned and burned. But history soon pushed Rousseau’s ideas into the mainstream of political theory, with the French and American revolutions paving the way for democratic government to gain ground across the Western world. Though it was precisely what got Rousseau’s book banned at the time, the novel idea that all legitimate government rests on the will of the people is now recognised as the core principle of democratic freedom and represents, for many people, the highest of ideals.

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Scholars have long debated the contribution Rousseau has made to political thought. Is he a theorist of radical individualism, a reactionary advocate for authoritarianism, or just a brilliantly paradoxical but ultimately incoherent controversialist? In the first book devoted to discussion of Rousseau's conception of virtue, Joseph R. Reisert argues that Rousseau's work offers a coherent political theory that both complements and challenges key elements of contemporary liberalism. Drawing on his deep familiarity with Rousseau's work, Reisert maintains that Rousseau's primary concern was to discover the psychological foundations of virtue, which he understood as the strength of will needed to respect the rights of others. Reisert reconstructs the model of the human soul that underpins Rousseau's account of virtue, a model he considers superior to the alternatives conceived by Aristotle, Hobbes, Locke, Montesquieu, Kant, and Rawls. Rousseau, the author explains, believed that life in modern societies undermines virtue, but that for individuals to thrive, and for free societies to endure, all would require moral education. Rousseau, who styled himself "a friend of virtue," sought to impart virtue to his readers through the examples of his literary characters Emile and Julie. Reisert finds that Rousseau's thought poses a dilemma for modern politics: democratic governments can do little to cultivate virtue directly, yet liberal society continues to need it. The requisite moral teaching, Reisert concludes, should be provided instead by families, religious organizations, and other civil associations.

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New format from teNeues! A collection of expertly printed wrapping papers, using art from the best art, past and present, in a big format paperback book. Our collection of Jean-Michel Basquiat products deepens with this portfolio of folded wrapping papers with his graffiti style energetic art, expertly reprinted for our big sheets of wrapping paper to add style to your gifts for men or women.

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One of the most prolific and influential artists of the 20th century, Jean Dubuffet has featured in a multitude of exhibitions and catalogues. Yet his work remains some of the most misunderstood—and least interrogated—post-war French art. In Jean Dubuffet, Bricoleur: Portraits, Pastiche, Performativity, Stephanie Chadwick re-examines his portraits (a veritable who’s who of the Parisian art and intellectual scene) through the lens of his writings and in tandem with the art and literature of his Surrealist sitters. Dubuffet, while posing as an outsider himself, mingled with many great artists and theorists. He also celebrated Art Brut (the art of ostensible outsiders), developing an elaborate and nuanced stream of conceptual resources to reconfigure painting and reframe post-war anticultural discourses. This book investigates Dubuffet’s painting as bricolage, uncovering his reliance on a culture of anticulture and the appropriation of motifs from Surrealism to the South Pacific, to explore themes of multivalence, performativity, and multifaceted identity in his portraits.

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Longlisted for the 2022 Highland Book Prize Mary, Queen of Scots’ marriage to the Earl of Bothwell is notorious. Less known is Bothwell’s first wife, Jean Gordon, who extricated herself from their marriage and survived the intrigue of the Queen’s court. Daughters of the North reframes this turbulent period in history by focusing on Jean, who became Countess of Sutherland, following her from her birth as the daughter of the ‘King of the North’ to her disastrous union with the notorious Earl of Bothwell – and her lasting legacy to the Earldom of Sutherland.

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