Examining the birth and development of early modern atheism from Spinoza's Tractatus theologico-politicus (1670) to d'Holbach's Systeme de la nature (1770), this study considers Spinoza, Hobbes, Cudworth, Bayle, Meslier, Boulainviller, Du Marsais, Freret, Toland, Collins, Hume, Diderot, Voltaire, and d'Holbach and positions them in a general interpretive scheme, based on the idea that early modern atheism is itself an unwanted fruit of early modern metaphysics and theology. Breaking with a long-standing tradition, Descartes claimed that it was possible to have a "clear and distinct" idea of God, indeed that the idea of God was the "clearest and most distinct" of all ideas accessible to the human mind. Humans could thus obtain a scientific knowledge of God's nature and attributes. But as soon as God became an object of science, He also became the object of a thoroughgoing scientific analysis and criticism. The effortlessness with which early modern atheists managed to turn round their adversaries' arguments to their own favour is a sign that the new doctrines of God which emerged in the seventeenth-century, each based in its own way on principles and dogmas related to the new science of nature, were plunging headfirst towards the precipice under their own steam.

Edward Said is a major 20th-century thinker. His impact on the way we think about identity and postcolonialism has been profound and transformative. In this book of essays, scholars of postcolonial studies, philosophy and literary criticism, informed by Said's wide-ranging scholarship, engage with and extend his work. Robert Young, author of "White Mythologies", focuses his essay on the notion of hybridity and ethnicity in England. Benita Parry explores how a very English story of imperialism is narrated in Conrad's "Nostromo". Other contributors include Bryan Cheyette, Moira Ferguson and Bruce Robbins. The collection also looks at the work of Frantz Fanon and cultural difference in Africa. And following Said's work and activism around the Palestinian question there are also essays exploring the relationship betwen Jewish and Arabic identity. Keith Ansell-Pearson is the author of "Nietzsche, Deleuze and the Philosophy Machine". Benita Parry is the author of "Delusions and Discoveries: Studies on India in the British Imagination" and "Conrad and Imperialism". Judith Squires is the joint editor of "Cultural Remix: Theories of Politics and the Popular" and "Space and Place: Theories of Identity and Location".

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

'This isn’t a grisly book; it is sharp, angry, punchily philosophical and often funny. It basically invents a new type of lifestyle aspiration: deathstyle.' The Times 'Callender’s joyous, thought-provoking book is an account of how his own early encounters with bereavement led to him becoming a new kind of undertaker.' Daily Mail 'Part memoir, part rant against the traditional funeral business, part manifesto, part just musing on death and facing it with compassion and courage. It’s lovely and thoughtful and may make you rethink a few things.' The Guardian ‘This book is a great work of craft and beauty.’ Salena Godden ‘This compelling personal story of a pioneering punk undertaker is a moving revelation.’ Love Reading ‘Inspiring and unforgettable.’ John Higgs, author of William Blake vs the World Death has shown me...the unbreakable core of love and courage that lies at the heart of what it means to be human. Ru Callender wanted to become a pioneering undertaker in order to offer people a more honest experience than the stilted formality of traditional ‘Victorian’ funerals. Driven by raw emotion and the unresolved grief of losing his own parents, Ru brought an outsider, ‘DIY’ ethos to the business of death, combined with the kinship and inspiration he found in rave culture, social outlaws and political nonconformists. Ru has carried coffins across windswept beaches, sat in pubs with caskets on beer-stained tables, helped children fire flaming arrows into their father’s funeral pyre, turned modern occult rituals into performance art and, with the band members of the KLF, is building the People’s Pyramid of bony bricks in Liverpool – all in the name of creating truly authentic experiences that celebrate those who are no longer here and those who remain. Radical, poignant, unflinchingly real and laugh-aloud funny, What Remains? will change the way you think about life, death and the human experience.

In Enlightenment Europe, a new form of pantomime ballet emerged, through the dual channels of theorization in print and experimentation onstage. Emphasizing eighteenth-century ballet's construction through print culture, Theories of Ballet in the Age of the Encyclopedie follows two parallel paths-standalone treatises on ballet and dance and encyclopedias-to examine the shifting definition of ballet over the second half of the eighteenth century. Bringing together the Encyclopedie and its Supplement, the Encyclopedie methodique, and the Encyclopedie d'Yverdon with the works of Jean-Georges Noverre, Louis de Cahusac, and Charles Compan, it traces how the recycling and recombining of discourses about dance, theatre, and movement arts directly affected the process of defining ballet. At the same time, it emphasizes the role of textual borrowing and compilation in disseminating knowledge during the Enlightenment, examining the differences between placing borrowed texts into encyclopedias of various types as well as into journal format, arguing that context has the potential to play a role equally important to content in shaping a reader's understanding, and that the Encyclopedie methodique presented ballet in a way that diverged radically from both the Encyclopedie and Noverre's Lettres sur la danse.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.