Nihilism seems to be per definition linked to violence. Indeed, if the nihilist is a person who acknowledges no moral or religious authority, then what does stop him from committing any kind of crime? Dostoevsky precisely called attention to this danger: if there is no God and no immortality of the soul, then everything is permitted, even anthropophagy. Nietzsche, too, emphasised, although in different terms, the consequences deriving from the death of God and the collapse of Judeo-Christian morality. This context shaped the way in which philosophers, writers and artists thought about violence, in its different manifestations, during the 20th century. The goal of this interdisciplinary volume is to explore the various modern and contemporary configurations of the link between violence and nihilism as understood by philosophers and artists (in both literature and film).

Nietzsche's famous attack upon established Christianity and religion is brought to the reader in this superb hardcover edition of The Antichrist, introduced and translated by H.L. Mencken. The incendiary tone throughout The Antichrist separates it from most other well-regarded philosophical texts; even in comparison to Nietzsche's earlier works, the tone of indignation and conviction behind each argument made is evident. There is little lofty ponderousness; the book presents its arguments and points at a blistering pace, placing itself among the most accessible and comprehensive works of philosophy. The Antichrist comprises a total of sixty-two short chapters, each with distinct philosophical arguments or angle upon the targets of Christianity, organised religion, and those who masquerade as faithful but are in actuality anything but. Pointedly opposed to notions of Christian morality and virtue, Nietzsche vehemently sets out a case for the faith's redundancy and lack of necessity in human life.

Ma?berot Immanuel is a collection of twenty-eight chapters in Hebrew of rhymed prose and poetry written by the poet and amateur philosopher Immanuel of Rome during an era of rapid political change in late medieval Italy. The final chapter, Mah?beret Ha-Tofet Ve-ha-'Eden (A Tale of Heaven and Hell), like Dante's Commedia, depicts Immanuel's visits to hell and heaven. Bridging Worlds focuses on the interrelation of Immanuel's belletristic work and biblical exegesis to advance a comprehensive and original reading of this final chapter. By reading Immanuel's philosophical commentaries and literary works together, Dana Fishkin demonstrates that Immanuel's narrative made complex philosophical ideas about the soul's quest for immortality accessible to an educated populace. Throughout this work, she explains the many ways Mah?beret Ha-Tofet Ve-ha-'Eden serves as a site of cultural negotiation and translation. Bridging Worlds broadens our understanding of the tensions inherent in the world of late medieval Jewish people who were deeply enmeshed in Italian culture and literature, negotiating two cultures whose values may have overlapped but also sometimes clashed. Fishkin puts forth a valuable and refreshing perspective alongside previously unknown sources to breathe new life into this extremely rich and culturally valuable medieval work.

What does it really mean to be modern? The contributors to this collection offer critical attempts both to re-read Max Weber's historical idea of disenchantment and to develop further his understanding of what the contested relationship between modernity and religion represents. The approach is distinctive because it focuses on disenchantment as key to understanding those aspects of modern society and culture that Weber diagnosed. This is in opposition to approaches that focus on secularization, narrowly construed as the rise of secularism or the divide between religion and politics, and that then conflate this with modernization as a whole. Other novel contributions are discussions of temporality - meaning the sense of time or of historical change that posits a separation between an ostensibly secular modernity and its religious past - and of the manner in which such a sense of time is constructed and disseminated through narratives that themselves may resemble religious myths. It reflects the idea that disenchantment is a narrative with either Enlightenment, Romantic, or Christian roots, thereby developing a conversation between critical studies in the field of secularism (such as those of Talal Asad and Gil Anidjar) and conceptual history approaches to secularization and modernity (such as those of Karl Loewith and Reinhart Koselleck), and in the process creates something that is more than merely the sum of its parts.

This first of a two-volume work provides a new understanding of Western subjectivity as theorized in the Augustinian Rule. A theopolitical synthesis of Antiquity, the Rule is a humble, yet extremely influential example of subjectivity production. In these volumes, Jodra argues that the Classical and Late-Ancient communitarian practices along the Mediterranean provide historical proof of a worldview in which the self and the other are not disjunctive components, but mutually inclusive forces. The Augustinian Rule is a culmination of this process and also the beginning of something new: the paradigm of the monastic self as protagonist of the new, medieval worldview. In this volume, Jodra takes one of the most influential and pervasive commons experiments-Augustine's Rule-and gives us its Mediterranean backstory, with an eye to solving at last the riddle of socialism. In volume two, he will present his solution in full, as a kind of Augustinian communitarianism for today. These volumes therefore restore the unity of the Hellenistic and Judaic world as found by the first Christians, proving that the self and the other are two essential pieces in the construction of our world.