Böcker utgivna av University of Minnesota Press

"Is there any such thing as political philosophy?" So begins this provocative book by one of the foremost figures in Continental thought. Here, Jacques Ranci re brings a new and highly useful set of terms to the vexed debate about political effectiveness and "the end of politics." What precisely is at stake in the relationship between "philosophy" and the adjective "political"? In Disagreement, Ranci re explores the apparent contradiction between these terms and reveals the uneasy meaning of their union in the phrase "political philosophy"--a juncture related to age-old attempts in philosophy to answer Plato''s devaluing of politics as a "democratic egalitarian" process. According to Ranci re, the phrase also expresses the paradox of politics itself: the absence of a proper foundation. Politics, he argues, begins when the "demos" (the "excessive" or unrepresented part of society) seeks to disrupt the order of domination and distribution of goods "naturalized" by police and legal institutions. In addition, the notion of "equality" operates as a game of contestation that constantly substitutes litigation for political action and community. This game, Ranci re maintains, operates by a primary logic of "misunderstanding." In turn, political philosophy has always tried to substitute the "politics of truth" for the politics of appearances. Disagreement investigates the various transformations of this regime of "truth" and their effects on practical politics. Ranci re then distinguishes what we mean by "democracy" from the practices of a consensual system in order to unravel the ramifications of the fashionable phrase "the end of politics." His conclusions will be of interest to readers concerned with political questions from the broadest to the most specific and local.

Here is a rich compendium of hundreds of legends, stories, beliefs, and magic collected from oral sources in preindustrial Scandinavia. In this rural society, the people lived close to nature and believed themselves an integral part of it. This volume focuses on beliefs that illustrate the central aspects of a traditional worldview, rather than on prose narratives considered for their literary value.

Cinema and photography are both intimately associated with time-cinema with timein passing, the photograph with the lost moment. In Photography, Cinema, Memory, Damian Sutton explores time in both media to present a radical new understanding of the photographic image as always coming into being.

This second volume presents the director's work as a radical collage of images and absences, letters and numbers, citations and sounds that together mark Hitchcock as a knowing figure who was entirely aware of this - and cinema's place at the dawn of a global media culture, as well as the cinema's revolutionary impact on perception and memory.

Considers the construction of race, gender, and sexuality in virtual reality.

Time is money, Benjamin Franklin once said, and in a reading of European philosophy, this text shows how true this adage is. A history of philosophy of time, this work attempts to unravel the theoretical frameworks that have given time its shape in Western civilization.

Helen Hoover and her husband, Adrian, were trailblazers in the American back-to-the-land movement. Well ensconced in their professional lives in Chicago, they made the decision to follow their dream of a simple existence, pulling up their stakes and plunging into the wilds of northern Minnesota.A Place in the Woods, first published in 1969, describes how the Hoovers gradually adapted to the rigors of wilderness survival, relating events that occurred prior to those Helen Hoover described in her bestselling The Girl of the Deer. This is a tale of starting out, of the pitfalls of beginning a new life -- one punctuated by near disasters but also by moments of rare beauty.A Place in the Woods is enlivened by warm, humorous anecdotes showing both the struggle and reward involved in joining this small community of rabbits, deer, and distant neighbors. This volume, now available in paperback for the first time, conveys the special joy of each small victory in the wilderness.

This groundbreaking volume introduces readers to the key concepts and debates in deaf studies, offering perspectives on the relevance and richness of deaf ways of being in the world. In Open Your Eyes, leading and emerging scholars, the majority of whom are deaf, consider physical and cultural boundaries of deaf places and probe the complex intersections of deaf identities with gender, sexuality, disability, family, and race. Together, they explore the role of sensory perception in constructing community, redefine literacy in light of signed languages, and delve into the profound medical, social, and political dimensions of the disability label often assigned to deafness. Moving beyond proving the existence of deaf culture, Open Your Eyes shows how the culture contributes vital insights on issues of identity, language, and power, and, ultimately, challenges our culture’s obsession with normalcy.   Contributors: Benjamin Bahan, Gallaudet U; Douglas C. Baynton, U of Iowa; Frank Bechter, U of Chicago; MJ Bienvenu, Gallaudet U; Brenda Jo Brueggemann, Ohio State U; Lennard J. Davis, U of Illinois, Chicago; Lindsay Dunn, Gallaudet U; Lawrence Fleischer, California State U, Northridge; Genie Gertz, California State U, Northridge; Hilde Haualand, FAFO Institute; Robert Hoffmeister, Boston U; Tom Humphries, U of California, San Diego; Arlene Blumenthal Kelly, Gallaudet U; Marlon Kuntze, U of California, Berkeley; Paddy Ladd, U of Bristol; Harlan Lane, Northeastern U; Joseph J. Murray, U of Iowa; Carol Padden, U of California, San Diego. H-Dirksen L. Bauman is professor and director of the graduate program in Deaf Studies at Gallaudet University. He is coeditor of Signing the Body Poetic: Essays in American Sign Language Literature, executive editor of the Deaf Studies Digital Journal, and executive producer and codirector of the documentary film Audism Unveiled.

Analyzing the myth of the artist in western culture, this work considers the social construction of the artist from the 15th century to the present.

An original exploration of the ways cyberspace affects human experience.New technologies suggest new ideas about embodiment: our "reach" extends to global sites through the Internet; we enter cyberspace through the engines of virtual reality. In this book, a leading philosopher of technology explores the meaning of bodies in technology-how the sense of our bodies and of our orientation in the world is affected by the various information technologies.Bodies in Technology begins with an analysis of embodiment in cyberspace, then moves on to consider ways in which social theorists have interpreted or overlooked these conditions. An astute and sensible judge of these theories, Don Ihde is a uniquely provocative and helpful guide through contemporary thinking about technology and embodiment, drawing on sources and examples as various as video games, popular films, the workings of e-mail, and virtual reality techniques.Charting the historical, philosophical, and practical territory between virtual reality and real life, this work is an important contribution to the national conversation on the impact technology-and information technology in particular-has on our lives in a wired, global age.

The first English-language anthology of Vilem Flusser's work, this volume displays the extraordinary range and subtlety of his intellect. A number of the essays gathered here introduce and elaborate his theory of communication. While taking dystopian, posthuman visions of communication technologies into account, Flusser celebrates their liberatory and humanizing aspects. Other essays present Flusser's thoughts on the future of writing, the revolutionary nature of photography, and his unconventional concept of posthistory. Taken together, these essays confirm Flusser's importance and pre-science within contemporary philosophy.

From Ferdinand Chevel's Palais Ideal (1879-1905) and Simon Rodia's Watts Towers (1921-1954) to Ant Farm's Cadillac Ranch (1974) and Richard Serra's Tilted Arc (1981), installation art has continually crossed boundaries, encompassing sculpture, architecture, performance, and visual art. Although unique in its power to transform both the site in which a work is constructed and the viewer's experience of being in a place, installation art has not received the critical attention accorded other art forms.In Space, Site, Intervention, some of today's most prominent art critics, curators, and artists view installation art as a diverse, multifaceted, and international art form that challenges institutional assumptions and narrow conceptual frameworks. The contributors discuss installation in relation to the genealogy of modern art, community and corporate space, multimedia cyberspace, public and private ritual, the gallery and the museum, public and private patronage, and political action. This ambitious volume focuses on issues of class, sexuality, cultural identity rase, and gender, and highlights a wide range of artists whose work is often marginalized by mainstream art history and criticism. Together, the essays in Space, Site, Intervention investigate how installation resonates within modern culture and society, as well as its ongoing influence on contemporary visual culture.

Presenting the natural philosopher in his own words, discussing a life imbued with ecology, this reveals in the most human terms how respect for and contact with the natural world can provide the foundation for a total view of the vast problems of humanity and our place in the world.