Search results for ""author robert bononno""

One of the most influential Marxist theorists of the twentieth century, Henri Lefebvre first published Marxist Thought and the City in French in 1972, marking a pivotal point in his evolution as a thinker and an important precursor to his groundbreaking work of urban sociology, The Production of Space. Marxist Thought and the City—inwhich he reviews the work of Karl Marx and Friedrich Engels for commentary and analysis on the life and growth of the city—now appears in English for the first time. Rooted in orthodox Marxism’s analyses of capitalism and the capitalist mode of production, with extensive quotations from the works of Marx and Engels, this book describes the city’s transition from life under feudalism to modern industrial capitalism. In doing so it highlights the various forces that sought to maintain power in the struggles between the medieval aristocracy and the urban guilds, amid the growth of banking and capital. Providing vital background and supplementary material to Lefebvre’s other books, including The Urban Revolution and Right to the City, Marxist Thought and the City is indispensable for students and scholars of urbanism, Marxism, social geography, early modern history, and the history of economic thought.

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Originally published in French in seven volumes, Cosmopolitics investigates the role and authority of the sciences in modern societies and challenges their claims to objectivity, rationality, and truth. Cosmopolitics II includes the first English-language translations of the last four books: Quantum Mechanics: The End of the Dream, In the Name of the Arrow of Time: Prigogine’s Challenge, Life and Artifice: The Faces of Emergence, and The Curse of Tolerance. Arguing for an “ecology of practices” in the sciences, Isabelle Stengers explores the discordant landscape of knowledge derived from modern science, seeking intellectual consistency among contradictory, confrontational, and mutually exclusive philosophical ambitions and approaches. For Stengers, science is a constructive enterprise, a diverse, interdependent, and highly contingent system that does not simply discover preexisting truths but, through specific practices and processes, helps shape them. Stengers concludes this philosophical inquiry with a forceful critique of tolerance; it is a fundamentally condescending attitude, she contends, that prevents those worldviews that challenge dominant explanatory systems from being taken seriously. Instead of tolerance, she proposes a “cosmopolitics” that rejects politics as a universal category and allows modern scientific practices to peacefully coexist with other forms of knowledge.

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Fethi Benslama is a psychoanalyst who, although a secular thinker, identifies himself as a person of Muslim culture who rejects ready-made explanations for Islamic fundamentalism. In that spirit, Benslama demythifies both Islam and Western ideas of the religion by addressing the psychoanalytic root causes of the Muslim world’s clash with modernity and subsequent turn to fundamentalism.Tracing this ideological strain to its origins, Benslama shows that contemporary Islam consists of a fairly recent hybridization of Arab nationalism, theocracy, and an attempt (both naïve and deadly) to ground science in faith. Combining textual analysis and Lacanian and Freudian psychoanalysis, he examines Islam’s foundation, providing fresh readings of the book of Genesis, the Koran, The Arabian Nights, and the work of medieval Islamic philosophers.Refreshingly, Benslama writes without ideological bias and undoes the simplistic, Western view of Islam while refusing to romanticize terrorism or Muslim extremism. This is a penetrating work that reveals an alternate history of the Islamic religion and opens new possibilities for its future development.

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"Spectacular . . . drops the reader through one trapdoor into another" A.J. FINNIt all starts with an innocuous curiosity: at the Hotel de Verbier, a luxury hotel in the Swiss Alps, there is no Room 622.This anomaly piques the interest of Joël Dicker, Switzerland's most famous literary star, who flees to the Verbier to recover from a bad breakup, mourn the death of his publisher, and begin his next novel.Before he knows it, he's coaxed out of his slump by a fellow guest, who quickly uncovers the reason behind Room 622's erasure: an unsolved murder. The attendant circumstances: a love triangle and a power struggle at the heart of Switzerland's largest private bank, a mysterious counter-intelligence unit known only as P-30, and a shadowy émigré with more money than God.A Russian doll of a mystery crafted with the precision of a Swiss watch, The Enigma of Room 622 is Joël Dicker's most diabolically addictive thriller yet.Praise for Joël Dicker "It's that most engaging of treats, a big, fat, intelligent thriller" SIMON MAYO"Dicker has the first-rate crime novelist's ability to lead his readers up the garden path" Sunday ExpressTranslated from the French by Robert Bononno

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Ghost Image is made up of sixty-three short essays - meditations, memories, fantasies, and stories bordering on prose poems - and not a single image. Herve Guibert's brief, literary rumination on photography was written in response to Roland Barthes' Camera Lucida, but its deeply personal contents go far beyond that canonical text. Some essays talk of Guibert's parents and friends, some describe old family photographs and films, and spinning through them all are reflections on remembrance, narcissism, seduction, deception, death, and the phantom images that have been missed. Both a memoir and an exploration of the artistic process, Ghost Image not only reveals Guibert's particular experience as a gay artist captivated by the transience and physicality of his media and his life, but also his thoughts on the more technical aspects of his vocation. In one essay, Guibert searches through a cardboard box of family portraits for clues-answers, or even questions-about the lives of his parents and more distant relatives. Rifling through vacation snapshots and the autographed images of long-forgotten film stars, Guibert muses, "I don't even recognize the faces, except occasionally that of an aunt or great-aunt, or the thin, fair face of my mother as a young girl." In other essays, he explains how he composes his photographs, and how - in writing - he seeks to escape and correct the inherent limits of his technique, to preserve those images lost to his technical failings as a photographer. With strains of Jean Genet and recurring themes that speak to the work of contemporary artists across a range of media, Guibert's Ghost Image is a beautifully written, melancholic ode to existence and art forms both fleeting and powerful - a unique memoir at the nexus of family, memory, desire, and photography.

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"[Kramer's body of work is] precise and sumptuous . . . a song of emotion, but with a great lucidity about the humanity of simple people."—Swiss Federal Office of Culture, Swiss Grand Prize for Literature citation"You need to read Pascale Kramer's books because they take you on a journey. You board a small ship that enters the human body, and what you felt while reading follows you for days after you've closed the book."—Elle (France)"Restrained, chiseled, implacable, the novels of Pascale Kramer perfectly master the art of creating a diffuse discomfort. Poignant."—Marie Claire (Switzerland)When a young woman returns to her childhood home after her estranged father's death, she begins to piece together the final years of his life. What changed him from a prominent left-wing journalist to a bitter racist who defended the murder of a defenseless African immigrant? Kramer exposes a country gripped by intolerance and violence to unearth the source of a family's fall from grace.Set in Paris and its suburbs, and inspired by the real-life scandal of a French author and intellectual, Autopsy of a Father blends sharp observations about familial dynamics with resonant political and philosophical questions, taking a scalpel to the racism and anti-immigrant sentiment spreading just beneath the skin of modern society.Pascale Kramer, recipient of the 2017 Swiss Grand Prize for Literature, is the author of fourteen books, including three novels published in English: The Living, The Child, and Autopsy of a Father, which was named a finalist for the La Closerie des Lilas, Ouest-France, and Orange du Livre prizes. Born in Geneva, she has worked in Los Angeles, and now lives in Paris, where she directs a documentary film festival about children's rights.

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Originally published in French in seven volumes, Cosmopolitics investigates the role and authority of the sciences in modern societies and challenges their claims to objectivity, rationality, and truth. Cosmopolitics II includes the first English-language translations of the last four books: Quantum Mechanics: The End of the Dream, In the Name of the Arrow of Time: Prigogine’s Challenge, Life and Artifice: The Faces of Emergence, and The Curse of Tolerance. Arguing for an “ecology of practices” in the sciences, Isabelle Stengers explores the discordant landscape of knowledge derived from modern science, seeking intellectual consistency among contradictory, confrontational, and mutually exclusive philosophical ambitions and approaches. For Stengers, science is a constructive enterprise, a diverse, interdependent, and highly contingent system that does not simply discover preexisting truths but, through specific practices and processes, helps shape them. Stengers concludes this philosophical inquiry with a forceful critique of tolerance; it is a fundamentally condescending attitude, she contends, that prevents those worldviews that challenge dominant explanatory systems from being taken seriously. Instead of tolerance, she proposes a “cosmopolitics” that rejects politics as a universal category and allows modern scientific practices to peacefully coexist with other forms of knowledge.

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From Einstein’s quest for a unified field theory to Stephen Hawking’s belief that we “would know the mind of God” through such a theory, contemporary science—and physics in particular—has claimed that it alone possesses absolute knowledge of the universe. In a sweeping work of philosophical inquiry, originally published in French in seven volumes, Isabelle Stengers builds on her previous intellectual accomplishments to explore the role and authority of science in modern societies and to challenge its pretensions to objectivity, rationality, and truth. For Stengers, science is a constructive enterprise, a diverse, interdependent, and highly contingent system that does not simply discover preexisting truths but, through specific practices and processes, helps shape them. She addresses conceptual themes crucial for modern science, such as the formation of physical-mathematical intelligibility, from Galilean mechanics and the origin of dynamics to quantum theory, the question of biological reductionism, and the power relations at work in the social and behavioral sciences. Focusing on the polemical and creative aspects of such themes, she argues for an ecology of practices that takes into account how scientific knowledge evolves, the constraints and obligations such practices impose, and the impact they have on the sciences and beyond. This perspective, which demands that competing practices and interests be taken seriously rather than merely (and often condescendingly) tolerated, poses a profound political and ethical challenge. In place of both absolutism and tolerance, she proposes a cosmopolitics—modeled on the ideal scientific method that considers all assumptions and facts as being open to question—that reintegrates the natural and the social, the modern and the archaic, the scientific and the irrational. Cosmopolitics I includes the first three volumes of the original work. Cosmopolitics II will be published by the University of Minnesota Press in Spring 2011.

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Writer, artist, filmmaker, provocateur, revolutionary, and impresario of the Situationist International, Guy Debord shunned the apparatus of publicity he dissected so brilliantly in his most influential work, The Society of the Spectacle. In this ambitious and innovative biography, Vincent Kaufmann places Debord's very hostility toward the inquisitive, biographical gaze at the center of an investigation into his subject's diverse output-from his earliest films to his landmark works of social theory and political provocation-and the poetic sensibility that informed both his work and his life.Instead of providing a conventional day-to-day account of Debord's life, Kaufmann deftly locates his subject within the historical and intellectual context of the radical social, political, and artistic movements in which he participated. He traces Debord's development as an intellectual: his involvement with the lettrist movement in the early 1950s, his central role in the Situationist International from 1957 to 1971 and in the events of May 1968, and the productive and frequently misunderstood period between the dissolution of the situationists and his suicide, during which time Debord clarified the rules of his war against inauthenticity.As Kaufmann makes clear, for Debord political thought and action were inseparable from aesthetics and poetic expression. Whether envisioning the recovery of a lost, protocommunist age of authenticity and transparency in The Society of the Spectacle or critically assessing the possibility of revolution against postmodern capitalism two decades later, Debord advocated and practiced an art of defiance, a concurrently martial and melancholic poetics. Avoiding the mythologies about Debord that both admirers and critics have cultivated, Kaufmann provides a groundbreaking and generous assessment of Debord and his uncompromising struggle against a corrupt civilization.

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One of the most influential Marxist theorists of the twentieth century, Henri Lefebvre first published Marxist Thought and the City in French in 1972, marking a pivotal point in his evolution as a thinker and an important precursor to his groundbreaking work of urban sociology, The Production of Space. Marxist Thought and the City—inwhich he reviews the work of Karl Marx and Friedrich Engels for commentary and analysis on the life and growth of the city—now appears in English for the first time. Rooted in orthodox Marxism’s analyses of capitalism and the capitalist mode of production, with extensive quotations from the works of Marx and Engels, this book describes the city’s transition from life under feudalism to modern industrial capitalism. In doing so it highlights the various forces that sought to maintain power in the struggles between the medieval aristocracy and the urban guilds, amid the growth of banking and capital. Providing vital background and supplementary material to Lefebvre’s other books, including The Urban Revolution and Right to the City, Marxist Thought and the City is indispensable for students and scholars of urbanism, Marxism, social geography, early modern history, and the history of economic thought.

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Toward an Architecture of Enjoyment is the first publication in any language of the only book devoted to architecture by Henri Lefebvre. Written in 1973 but only recently discovered in a private archive, this work extends Lefebvre’s influential theory of urban space to the question of architecture. Taking the practices and perspective of habitation as his starting place, Lefebvre redefines architecture as a mode of imagination rather than a specialized process or a collection of monuments. He calls for an architecture of jouissance—of pleasure or enjoyment—centered on the body and its rhythms and based on the possibilities of the senses.Examining architectural examples from the Renaissance to the postwar period, Lefebvre investigates the bodily pleasures of moving in and around buildings and monuments, urban spaces, and gardens and landscapes. He argues that areas dedicated to enjoyment, sensuality, and desire are important sites for a society passing beyond industrial modernization. Lefebvre’s theories on space and urbanization fundamentally reshaped the way we understand cities. Toward an Architecture of Enjoyment promises a similar impact on how we think about, and live within, architecture.

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In 1968, Michel Foucault agreed to a series of interviews with critic Claude Bonnefoy, which were to be published in book form. Bonnefoy wanted a dialogue with Foucault about his relationship to writing rather than about the content of his books. The project was abandoned, but a transcript of the initial interview survived and is now being published for the first time in English. In this brief and lively exchange, Foucault reflects on how he approached the written word throughout his life, from his school days to his discovery of the pleasure of writing.Wide ranging, characteristically insightful, and unexpectedly autobiographical, the discussion is revelatory of Foucault’s intellectual development, his aims as a writer, his clinical methodology (“let’s say I’m a diagnostician”), and his interest in other authors, including Raymond Roussel and Antonin Artaud. Foucault discloses, in ways he never had previously, details about his home life, his family history, and the profound sense of obligation he feels to the act of writing. In his Introduction, Philippe Artières investigates Foucault’s engagement in various forms of oral discourse—lectures, speeches, debates, press conferences, and interviews—and their place in his work.Speech Begins after Death shows Foucault adopting a new language, an innovative autobiographical communication that is neither conversation nor monologue, and is one of his most personal statements about his life and writing.

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Two previously unpublished lectures charting the renowned anthropologist’s intellectual engagement with the sixteenth-century French essayist Michel de Montaigne In January 1937, between the two ethnographic trips he would describe in Tristes Tropiques, Claude Lévi-Strauss gave a talk to the Confédération générale du travail in Paris. Only recently discovered in the archives of the Bibliothèque national de France, this lecture, “Ethnography: The Revolutionary Science,” discussed the French essayist Michel de Montaigne, to whom Lévi-Strauss would return in remarks delivered more than a half-century later, in the spring of 1992. Bracketing the career of one of the most celebrated anthropologists of the twentieth century, these two talks reveal how Lévi-Strauss’s ethnography begins and ends with Montaigne—and how his reading of his intellectual forebear and his understanding of anthropology evolve along the way.Published here for the first time, these lectures offer new insight into the development of ethnography and the thinking of one of its most important practitioners. Essays by Emmanuel Désveaux, who edited the original French volume De Montaigne à Montaigne, and Peter Skafish expand the context of Lévi-Strauss’s talks with contemporary perspectives and commentary.

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Two previously unpublished lectures charting the renowned anthropologist’s intellectual engagement with the sixteenth-century French essayist Michel de Montaigne In January 1937, between the two ethnographic trips he would describe in Tristes Tropiques, Claude Lévi-Strauss gave a talk to the Confédération générale du travail in Paris. Only recently discovered in the archives of the Bibliothèque national de France, this lecture, “Ethnography: The Revolutionary Science,” discussed the French essayist Michel de Montaigne, to whom Lévi-Strauss would return in remarks delivered more than a half-century later, in the spring of 1992. Bracketing the career of one of the most celebrated anthropologists of the twentieth century, these two talks reveal how Lévi-Strauss’s ethnography begins and ends with Montaigne—and how his reading of his intellectual forebear and his understanding of anthropology evolve along the way.Published here for the first time, these lectures offer new insight into the development of ethnography and the thinking of one of its most important practitioners. Essays by Emmanuel Désveaux, who edited the original French volume De Montaigne à Montaigne, and Peter Skafish expand the context of Lévi-Strauss’s talks with contemporary perspectives and commentary.

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Expectation is a major volume of Jean-Luc Nancy’s writings on literature, written across three decades but, for the most part, previously unavailable in English. More substantial than literary criticism, these essays collectively negotiate literature’s relation to philosophy. Nancy pursues such questions as literature’s claims to truth, the status of narrative, the relation of poetry and prose, and the unity of a book or of a text, and he addresses a number of major European writers, including Dante, Sterne, Rousseau, Hölderlin, Proust, Joyce, and Blanchot. The final section offers a number of impressive pieces by Nancy that completely merge his concerns for philosophy and literature and philosophy-as-literature. These include a lengthy parody of Valéry’s “La Jeune Parque,” several original poems by Nancy, and a beautiful prose-poetic discourse on an installation by Italian artist Claudio Parmiggiani that incorporates the Faust theme. Opening with a substantial Introduction by Jean-Michel Rabaté that elaborates Nancy’s importance as a literary thinker, this book constitutes the most substantial statement to date by one of today’s leading philosophers on a discipline that has been central to his work across his career.

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Expectation is a major volume of Jean-Luc Nancy’s writings on literature, written across three decades but, for the most part, previously unavailable in English. More substantial than literary criticism, these essays collectively negotiate literature’s relation to philosophy. Nancy pursues such questions as literature’s claims to truth, the status of narrative, the relation of poetry and prose, and the unity of a book or of a text, and he addresses a number of major European writers, including Dante, Sterne, Rousseau, Hölderlin, Proust, Joyce, and Blanchot. The final section offers a number of impressive pieces by Nancy that completely merge his concerns for philosophy and literature and philosophy-as-literature. These include a lengthy parody of Valéry’s “La Jeune Parque,” several original poems by Nancy, and a beautiful prose-poetic discourse on an installation by Italian artist Claudio Parmiggiani that incorporates the Faust theme. Opening with a substantial Introduction by Jean-Michel Rabaté that elaborates Nancy’s importance as a literary thinker, this book constitutes the most substantial statement to date by one of today’s leading philosophers on a discipline that has been central to his work across his career.

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