In "Animals and the Limits of Postmodernism," Gary Steiner illuminates postmodernism's inability to produce viable ethical and political principles. Ethics requires notions of self, agency, and value that are not available to postmodernists. Thus, much of what is published under the rubric of postmodernist theory lacks a proper basis for a systematic engagement with ethics.

Steiner demonstrates this through a provocative critique of postmodernist approaches to the moral status of animals, set against the background of a broader indictment of postmodernism's failure to establish clear principles for action. He revisits the ideas of Derrida, Foucault, Nietzsche, and Heidegger, together with recent work by their American interpreters, and shows that the basic terms of postmodern thought are incompatible with definitive claims about the moral status of animals -- as well as humans. Steiner also identifies the failures of liberal humanist thought in regards to this same moral dilemma, and he encourages a rethinking of humanist ideas in a way that avoids the anthropocentric limitations of traditional humanist thought. Drawing on the achievements of the Stoics and Kant, he builds on his earlier ideas of cosmic holism and non-anthropocentric cosmopolitanism to arrive at a more concrete foundation for animal rights.

Contemporary Capitalism, Crisis, and the Politics of Fiction: Literature Beyond Fordism proposes a fresh approach to contemporary fictional engagements with the idea of crisis in capitalism and its various social and economic manifestations. The book investigates how late-twentieth and twenty-first-century Anglophone fiction has imagined, interpreted, and in most cases resisted, the collapse of the socio-economic structures built after the Second World War and their replacement with a presumably immaterial order of finance-led economic development. Through a series of detailed readings of the words of authors Martin Amis, Hari Kunzru, Don DeLillo, Zia Haider Rahman, John Lanchester, Paul Murray and Zadie Smith among others, this study sheds light on the embattled and decidedly unstable nature of contemporary capitalism.

This book, first published in 1975, is an examination of the theoretical foundation of the sociology of art and literature and an in-depth study in the sociology of knowledge. In discussing and clarifying some of the important philosophical issues in this field, the constant underlying reference is to the creative and artistic-expressive areas of knowledge - so that the better understanding of the social nature and genesis of all knowledge may point the way towards a similar comprehension of art and society.

In this important work of scholarship sure to reshape the landscape of critical social sciences, Raju Das offers a critique of many of the influential radical theories of class, making a spirited defence of class theory. Marxist Theory of Class for a Skeptical World critically discusses Analytical Marxist and Post-structuralist Marxist theories of class and persuasively argues for an alternative approach that is rooted in the ideas of Marx and Engels, as well as Lenin and Trotsky.

Most texts claiming to trace the evolution of metaphysics do so according to the analytical tradition, which understands metaphysics as a reflection of different categories of reality. Incorporating the perspectives of Continental theory does little to expand this history, as the Continental tradition remains largely hostile to such metaphysical claims. The first history of metaphysics to respect both the analytical and Continental schools while also transcending the theoretical limitations of each, this compelling overview restores the value of metaphysics to contemporary audiences.

Beginning with the Greeks and concluding with present day philosophers, Jean Grondin reviews seminal texts by the Presocratic Parmenides, Plato, Aristotle, Plotinus, and Augustine. He follows the theological turn in metaphysical thought during the middle ages and reads Avicenna, Anselm, Aquinas, and Duns Scot. Grondin revisits Descartes and the cogito; Spinoza and Leibniz's rationalist approaches; Kant's reclaiming of the metaphysical tradition; and postkantian practice up to Hegel. He engages with the twentieth-century innovations that shook the discipline, particularly Heidegger's notion of Being and the rediscovery of the metaphysics of existence (Sartre and the Existentialists), language (Gadamer and Derrida), and transcendence (Levinas). Metaphysics is often dismissed as a form or epoch of philosophy that must be overcome, yet a full understanding of its platform and processes reveal a cogent approach to reality, and its reasoning has been foundational to modern philosophy and science. Grondin reacquaints readers with the rich currents and countercurrents of metaphysical thinking and muses on where it may be headed in the twenty-first century.

Although successive generations of the Frankfurt School have attempted to adapt Critical Theory to new circumstances, the work done by its founding members continues in the twenty-first century to unsettle conventional wisdom about culture, society and politics. Exploring unexamined episodes in the school's history and reading its work in unexpected ways, these essays provide ample evidence of the abiding relevance of Horkheimer, Adorno, Benjamin, Marcuse, Loewenthal, and Kracauer in our troubled times. Without forcing a unified argument, they range over a wide variety of topics, from the uncertain founding of the School to its mixed reception of psychoanalysis, from Benjamin's ruminations on stamp collecting to the ironies in the reception of Marcuse's One-Dimensional Man, from Loewenthal's role in Weimar's Jewish Renaissance to Horkheimer's involvement in the writing of the first history of the Frankfurt School. Of special note are their responses to visual issues such as the emancipation of colour in modern art, the Jewish prohibition on images, the relationship between cinema and the public sphere, and the implications of a celebrated Family of Man photographic exhibition. The collection ends with an essay tracing the still metastasising demonisation of the Frankfurt School by the so-called Alt Right as the source of "cultural Marxism" and "political correctness," which has gained alarming international resonance and led to violence by radical right-wing fanatics.

What is the strange eros that haunts Foucault's writing? In this deeply original consideration of Foucault's erotic ethics, Lynne Huffer provocatively rewrites Foucault as a Sapphic poet. She uncovers eros as a mode of thought that erodes the interiority of the thinking subject. Focusing on the ethical implications of this mode of thought, Huffer shows how Foucault's poetic archival method offers a way to counter the disciplining of speech. At the heart of this method is a conception of the archive as Sapphic: the past's remains are, like Sappho's verses, hole-ridden, scattered, and dissolved by time. Listening for eros across fragmented texts, Huffer stages a series of encounters within an archive of literary and theoretical readings: the eroticization of violence in works by Freud and Eve Kosofsky Sedgwick, the historicity of madness in the Foucault-Derrida debate, the afterlives of Foucault's antiprison activism, and Monique Wittig's Sapphic materialism. Through these encounters, Foucault's Strange Eros conceives of ethics as experiments in living that work poetically to make the present strange. Crafting fragments that dissolve into Sapphic brackets, Huffer performs the ethics she describes in her own practice of experimental writing. Foucault's Strange Eros hints at the self-hollowing speech of an eros that opens a space for the strange.

On 26 August 1974, Michel Foucault completed work on Discipline and Punish, and on that very same day began writing the first volume of The History of Sexuality. A little under ten years later, on 25 June 1984, shortly after the second and third volumes were published, he was dead. This decade is one of the most fascinating of his career. It begins with the initiation of the sexuality project, and ends with its enforced and premature closure. Yet in 1974 he had something very different in mind for The History of Sexuality than the way things were left in 1984. Foucault originally planned a thematically organised series of six volumes, but wrote little of what he promised and published none of them. Instead over the course of the next decade he took his work in very different directions, studying, lecturing and writing about historical periods stretching back to antiquity. This book offers a detailed intellectual history of both the abandoned thematic project and the more properly historical version left incomplete at his death. It draws on all Foucault s writings in this period, his courses at the College de France and lectures elsewhere, as well as material archived in France and California to provide a comprehensive overview and synthetic account of Foucault s last decade.

Lacan postulated that the psyche can be understood by means of certain structures, which control our lives and our desires, and which operate differently at different logical moments or stages of formation. Jacques Lacan and the Logic of Structure offers us a reading of the major concepts of Lacan in terms of his later topological theory and aims to show how this was always a concern for Lacan and not only an issue in the last seminars. Ellie Ragland discusses how various stages of formation can be uncovered topologically within language itself, and operate to place certain properties - fantasy, the drive, jouissance, discourse and ethics in language itself. In this way she explores not only how language actually works in tandem with the properties, but also gives a different idea of what knowledge actually is and what implications that may have for reimagining and reworking differential/diagnostic structures. Jacques Lacan and the Logic of Structure is a compelling exponent of the innovative approaches Lacan takes to rethinking what psychoanalysis is and what it can do to enlighten psychoanalysts and treat patients. It will be essential reading to psychoanalysts, psychoanalytic psychotherapists training graduate students in the fields of film, literary, gender and cultural studies.

For several years after 1968, Herbert Marcuse was one of the most famous philosophers in the world. He became the face of Frankfurt School Critical Theory for a generation in turmoil. His fame rested on two remarkable books, Eros and Civilization and One-Dimensional Man. These two books represent the utopian hopes and dystopian fears of the time. In the 1960s and 70s, young people seeking a theoretical basis for their revolution found it in his work. Marcuse not only supported their struggles against imperialism and race and gender discrimination, he foresaw the far-reaching implications of the destruction of the natural environment. Marcuse's Marxism was influenced by Husserl and Heidegger, Hegel and Freud. These eclectic sources grounded an original critique of advanced capitalism focused on the social construction of subjectivity and technology. Marcuse contrasted the "one-dimensionality" of conformist experience with the "new sensibility" of the New Left. The movement challenged a society that "delivered the goods" but devastated the planet with its destructive science and technology. A socialist revolution would fail if it did not transform these instruments into means of liberation, both of nature and human beings. This aspiration is alive today in the radical struggle over climate change. Marcuse offers theoretical resources for understanding that struggle.

Axel Honneth has been instrumental in advancing the work of the Frankfurt School of critical theorists, rebuilding their effort to combine radical social and political analysis with rigorous philosophical inquiry. These eleven essays published over the past five years reclaim the relevant themes of the Frankfurt School, which counted Theodor W. Adorno, Max Horkheimer, Walter Benjamin, J?rgen Habermas, Franz Neumann, and Albrecht Wellmer as members. They also engage with Kant, Freud, Alexander Mitscherlich, and Michael Walzer, whose work on morality, history, democracy, and individuality intersects with the Frankfurt School's core concerns.

Collected here for the first time in English, Honneth's essays pursue the unifying themes and theses that support the methodologies and thematics of critical social theory, and they address the possibilities of continuing this tradition through radically changed theoretical and social conditions. According to Honneth, there is a unity that underlies critical theory's multiple approaches: the way in which reason is both distorted and furthered in contemporary capitalist society. And while much is dead in the social and psychological doctrines of critical social theory, its central inquiries remain vitally relevant.

Is social progress still possible after the horrors of the twentieth century? Does capitalism deform reason and, if so, in what respects? Can we justify the relationship between law and violence in secular terms, or is it inextricably bound to divine justice? How can we be free when we're subject to socialization in a highly complex and in many respects unfree society? For Honneth, suffering and moral struggle are departure points for a new "reconstructive" form of social criticism, one that is based solidly in the empirically grounded, interdisciplinary approach of the Frankfurt School.

Stanislas Breton's "A Radical Philosophy of Saint Paul," which focuses on the political implications of the apostle's writings, was an instrumental text in Continental philosophy's contemporary "turn to religion." Reading Paul's work against modern thought and history, Breton helped launch a reassessment of Marxism, introduce secular interpretations of biblical and theological traditions, develop "radical negativity" as a critical category, and rework modern political ideas through a theoretical lens.

Newly translated and critically situated, this edition takes a fresh approach to Breton's classic work, reacquainting readers with the remarkable ways in which an ancient apostle can reset our understanding of the political. Breton begins with Paul's biography and the texts of his conversion, which challenge common conceptions of identity. He broaches the question of allegory and divine predestination, introduces the idea of subjectivity as an effect of power, and confronts Paul's critique of Law, which leads to an exploration of the logics and limits of agency and power. Breton develops these and other insights in relation to Paul's subversive reflections on the crucified messiah, which challenge meaning and reason and upend our current world order. Neither a coherent theologian nor a stable humanist, Breton's Paul becomes a fascinating figure of excess and madness, experiencing a kind of being that transcends philosophy, secularity, and religion.

In the 1960s, the strict opposition between the religious and the secular began to break down, blurring the distinction between political philosophy and political theology. This collapse contributed to the decline of modern liberalism, which supported a neutral, value-free space for capitalism. It also deeply unsettled political, religious, and philosophical realms, forced to confront the conceptual stakes of a return to religion.

Gamely intervening in a contest that defies simple resolutions, Clayton Crockett conceives of the postmodern convergence of the secular and the religious as a basis for emancipatory political thought. Engaging themes of sovereignty, democracy, potentiality, law, and event from a religious and political point of view, Crockett articulates a theological vision that responds to our contemporary world and its theo-political realities. Specifically, he claims we should think about God and the state in terms of potentiality rather than sovereign power. Deploying new concepts, such as Slavoj Žižek's idea of parallax and Catherine Malabou's notion of plasticity, his argument engages with debates over the nature and status of religion, ideology, and messianism. Tangling with the work of Derrida, Deleuze, Spinoza, Antonio Negri, Giorgio Agamben, Alain Badiou, John D. Caputo, and Catherine Keller, Crockett concludes with a reconsideration of democracy as a form of political thought and religious practice, underscoring its ties to modern liberal capitalism while also envisioning a more authentic democracy unconstrained by those ties.

Introducing Levi-Strauss is a guide to the work of the great French anthropologist Claude Levi-Strauss (1908-2009). The book brilliantly traces the development and influence of Levi-Strauss' thought, from his early work on the function of the incest taboo to initiate an exchange of women between groups, to his identification of a timeless "wild" or "primitive" mode of thinking - a pensee sauvage - behind the processes of human culture. Accessibly written by Boris Wiseman and beautifully illustrated by Judy Groves, Introducing Levi-Strauss also explores the major contribution that Levi-Strauss made to contemporary aesthetic history - his work on American-Indian mythology provides a key insight into the way in which art itself comes into being. This is an essential introduction to a key thinker.

"There is always an atheism to be extracted from a religion," Deleuze and Guattari write in their final collaboration, What Is Philosophy? Their claim that Christianity "secretes" atheism "more than any other religion," however, reflects the limits of their archive. Theological projects seeking to engage Deleuze remain embedded within Christian theologies and intellectual histories; whether they embrace, resist, or negotiate with Deleuze's atheism, the atheism in question remains one extracted from Christian theology, a Christian atheism. In Sufi Deleuze, Michael Muhammad Knight offers an intervention, engaging Deleuzian questions and themes from within Islamic tradition. Even if Deleuze did not think of himself as a theologian, Knight argues, to place Deleuze in conversation with Islam is a project of comparative theology and faces the challenge of any comparative theology: It seemingly demands that complex, internally diverse traditions can speak as coherent, monolithic wholes. To start from such a place would not only defy Islam's historical multiplicity but also betray Deleuze's model of the assemblage, which requires attention to not only the organizing and stabilizing tendencies within a structure but also the points at which a structure resists organization, its internal heterogeneity, and unpredictable "lines of flight." A Deleuzian approach to Islamic theology would first have to affirm that there is no such thing as a universal "Islamic theology" that can speak for all Muslims in all historical settings, but rather a multiplicity of power struggles between major and minor forces that contest each other over authenticity, authority, and the making of "orthodoxy." The discussions in Sufi Deleuze thus highlight Islam's extraordinary range of possibilities, not only making use of canonically privileged materials such as the Qur'an and major hadith collections, but also exploring a variety of marginalized resources found throughout Islam that challenge the notion of a singular "mainstream" interpretive tradition. To say it in Deleuze's vocabulary, Islam is a rhizome.

In this book Jacques Ranciere radicalises his critique of modernism and its postmodern appendix. He contrasts their unilinear and exclusive time with the interweaving of temporalities at play in modern processes of emancipation and artistic revolutions, showing how this plurality itself refers to the double dimension of time. Time is more than a line drawn from the past to the future. It is a form of life, marked by the ancient hierarchy between those who have time and those who do not. This hierarchy, continued in the Marxist notion of the vanguard and nakedly exhibited in Clement Greenberg's modernism, still governs a present which clings to the fable of historical necessity and its experts. In opposition to this, Ranciere shows how the break with the hierarchical conception of time, formulated by Emerson in his vision of the new poet, implies a completely different idea of the modern. He sees the fulfilment of this in the two arts of movement, cinema and dance, which at the beginning of the twentieth century abolished the opposition between free and mechanical people, at the price of exposing the rift between the revolution of artists and that of strategists.

Has the passing of the old God paved the way for a new kind of religious project, a more responsible way to seek, sound, and love the things we call divine? Has the suspension of dogmatic certainties and presumptions opened a space in which we can encounter religious wonder anew? Situated at the split between theism and atheism, we now have the opportunity to respond in deeper, freer ways to things we cannot fathom or prove.

Distinguished philosopher Richard Kearney calls this condition "ana-theos," or God after God-a moment of creative "not knowing" that signifies a break with former sureties and invites us to forge new meanings from the most ancient of wisdoms. Anatheism refers to an inaugural event that lies at the heart of every great religion, a wager between hospitality and hostility to the stranger, the other--the sense of something "more." By analyzing the roots of our own anatheistic moment, Kearney shows not only how a return to God is possible for those who seek it but also how a more liberating faith can be born.

Kearney begins by locating a turn toward sacred secularity in contemporary philosophy, focusing on Maurice Merleau-Ponty and Paul Ricoeur. He then marks "epiphanies" in the modernist masterpieces of James Joyce, Marcel Proust, and Virginia Woolf. Kearney concludes with a discussion of the role of theism and atheism in conflict and peace, confronting the distinction between sacramental and sacrificial belief or the God who gives life and the God who takes it away. Accepting that we can never be sure about God, he argues, is the only way to rediscover a hidden holiness in life and to reclaim an everyday divinity.

A classic of Western Marxism, The Destruction of Reason is Georg Lukacs's trenchant criticism of German philosophy after Marx and the role it played in the rise of National Socialism. Originally published in 1952, the book is a sustained and detailed polemic against post-Hegelian German philosophy and sociology from Kierkegaard to Heidegger. The Destruction of Reason is unsparing in its contention that with almost no exceptions, the post-Hegelian tradition prepared the ground fascist thought. In this, the main culprits are Friedrich Nietzsche and Martin Heidegger who are accused, in turn, of introducing irrationalism into social and philosophical thought, pronounced antagonism to the idea of progress in history, an aristocratic view of the "masses," and, consequently, hostility to socialism, which in its classic expressions are movements for popular democracy-especially, but not exclusively, the expropriation of most private property in terms of material production. The Destruction of Reason remains one of Lukacs's most controversial, albeit little read, books. This new edition, featuring an historical introduction by Enzo Traverso, will finally see this classic come back in to print.

This book explores how phenomenological ideas about embodiment, perception, and lived experience are discussed within disability studies, critical race theory, and queer studies. Building on these disciplines, it offers readings of memoirs and novels that address the consequences of stigmatization and the bodily dimensions of social differences. The texts include Robert F. Murphy's The Body Silent, Simi Linton's My Body Politic, Rod Michalko's The Two-in-One: Walking with Smokie, Walking with Blindness, three memoirs by Stephen Kuusisto, Vincent O. Carter's The Bern Book, as well as two novels, Matthew Griffin's Hide and Armistead Maupin's Maybe the Moon. All of the texts discussed in this book negotiate the significance of bodily and perceptual habits, the influence of language and culture on embodiment, the importance of relationality and community, the severe effects of misrecognition, and the possibilities of emancipation and social recognition. Hence, they are read as pioneering contributions to the emerging field of critical phenomenology.

Mixing fiction, history, psychoanalysis, and personal fantasy, Teresa, My Love turns a past world into a modern marvel, following Sylvia Leclercq, a French psychoanalyst, academic, and incurable insomniac, as she falls for the sixteenth-century Saint Teresa of Avila and becomes consumed with charting her life. Traveling to Spain, Leclercq, Julia Kristeva's probing alter ego, visits the sites and embodiments of the famous mystic and awakens to her own desire for faith, connection, and rebellion. One of Kristeva's most passionate and transporting works, Teresa, My Love interchanges biography, autobiography, analysis, dramatic dialogue, musical scores, and images of paintings and sculpture to engage the reader in Leclercq's-and Kristeva's-journey. Born in 1515, Teresa of Avila outwitted the Spanish Inquisition and was a key reformer of the Carmelite Order. Her experience of ecstasy, which she intimately described in her writings, released her from her body and led to a complete realization of her consciousness, a state Kristeva explores in relation to present-day political failures, religious fundamentalism, and cultural malaise. Incorporating notes from her own psychoanalytic practice, as well as literary and philosophical references, Kristeva builds a fascinating dual diagnosis of contemporary society and the individual psyche while sharing unprecedented insights into her own character.

Philosophy reads humanity against animality, arguing that "man" is man because he is separate from beast. Deftly challenging this position, Kelly Oliver proves that, in fact, it is the animal that teaches us to be human. Through their sex, their habits, and our perception of their purpose, animals show us how not to be them.

This kinship plays out in a number of ways. We sacrifice animals to establish human kinship, but without the animal, the bonds of "brotherhood" fall apart. Either kinship with animals is possible or kinship with humans is impossible. Philosophy holds that humans and animals are distinct, but in defending this position, the discipline depends on a discourse that relies on the animal for its very definition of the human. Through these and other examples, Oliver does more than just establish an animal ethics. She transforms ethics by showing how its very origin is dependent upon the animal. Examining for the first time the treatment of the animal in the work of Heidegger, Merleau-Ponty, Derrida, Agamben, Freud, Lacan, and Kristeva, among others, "Animal Lessons" argues that the animal bites back, thereby reopening the question of the animal for philosophy.

Prompted by the thirtieth anniversary of the French philosopher Jacques Lacan's death, this exchange between two prominent intellectuals is rich with surprising insights. Alain Badiou shares the clearest, most detailed account to date of his profound indebtedness to Lacanian psychoanalysis. He explains in depth the tools Lacan gave him to navigate the extremes of his other two philosophical masters, Jean-Paul Sartre and Louis Althusser. Elisabeth Roudinesco supplements Badiou's experience with her own perspective on the troubled landscape of the French analytic world since Lacan's death -- critiquing, for example, the link (or lack thereof) between politics and psychoanalysis in Lacan's work, among other issues. Their dynamic dialogue draws readers into an intimate, at times contentious, yet ultimately productive debate that reinvigorates the work of a pivotal twentieth-century thinker.

This book explores how phenomenological ideas about embodiment, perception, and lived experience are discussed within disability studies, critical race theory, and queer studies. Building on these disciplines, it offers readings of memoirs and novels that address the consequences of stigmatization and the bodily dimensions of social differences. The texts include Robert F. Murphy's The Body Silent, Simi Linton's My Body Politic, Rod Michalko's The Two-in-One: Walking with Smokie, Walking with Blindness, three memoirs by Stephen Kuusisto, Vincent O. Carter's The Bern Book, as well as two novels, Matthew Griffin's Hide and Armistead Maupin's Maybe the Moon. All of the texts discussed in this book negotiate the significance of bodily and perceptual habits, the influence of language and culture on embodiment, the importance of relationality and community, the severe effects of misrecognition, and the possibilities of emancipation and social recognition. Hence, they are read as pioneering contributions to the emerging field of critical phenomenology.

The Being and Event trilogy is the philosophical basis of Alain Badiou's entire oeuvre. It is formed of three major texts, which constitute a kind of metaphysical saga: Being and Event (1988). ), Logics of the Worlds (2006) and finally The Immanence of Truths, which he has been working on for 15 years. The new volume reverses the perspective adopted in Logics of Worlds. Where in that book, Badiou saw fit to analyze how truths, qua events, appear from the perspective of particular worlds that by definition exclude them, in The Immanence of Truths Badiou asks instead how the irruption of truths transforms the worlds within which they by necessity must arise. An emphasis on regularity and continuity has given way to an attempt, one unquestionable in its philosophical power and implications, to formalize rupture and reconfiguration. The Being and Event trilogy is a unique and ambitious work that reveals how truths can be at once context-specific and universal, situational and eternal.