Claudia Moscovici asserts in Romanticism and Postromanticism that the Romantic heritage, far from being important only in a historical sense, has philosophical relevance and value for contemporary art and culture. With an emphasis on artistic tradition as a continuing source of inspiration and innovation, she touches upon each main branch of philosophy: aesthetics, epistemology, and ethics. The book begins by describing some of the most interesting features of the Romantic movement that still fuel our culture. It then addresses the question: How did an artistic movement whose focus was emotive expression change into a quest for formal experimentation? And finally, Moscovici considers the aesthetic philosophy of postromanticism by thinking through how the Romantic emphasis upon beauty and passion can be combined with the modern and postmodern emphasis on originality and experimentation.

From Sex Objects to Sexual Subjects traces some of the ruptures and continuities between the eighteenth-century masculinist formulations of subjectivity elaborated by Rousseau, Diderot and Kant and the contemporary postmodern and feminist critiques of the universal subject--meaning the self viewed as an abstract individual who exercises an impartial and rational (political) judgment that is idential to other similarly defined individuals--developed by Luce Irigaray, Francois Lyotard, Jacques Derrida, Jurgen Habermas, Nancy Fraser, Judith Butler and Michel Foucault.
In her work, Moscovici brings together the wide-ranging discussion of subjectivity with debates about public discourse. In so doing she attempts a synthesis between the two discussions that have recently engaged feminist theorists and others.

Carole A. Feuerman is celebrated as one of America's major hyper-realistic sculptors, alongside Duane Hanson and John De Andrea. Born 1945, she was educated in New York and Philadelphia and began as an illustrator before turning to sculpture in the 1970s, which soon earned her much recognition and early success. A pioneer of hyper-realism in sculpture, her work has been displayed in many group shows and solo exhibitions at private galleries and public museums, as well as at the major art fairs, in America, Europe, and Asia. Over five decades, Feuerman has created visual manifestations of stories telling of strength, survival, and balance. She works in marble, bronze, vinyl, painted resins, and stainless steel. Her work is marked by her thorough understanding of materials' characteristics and her ability to control them in the studio. Her subject matter is the human figure, most often a woman in an introspective moment of exuberant self-consciousness shaded by erotic lassitude. Feuerman's works represent a state of female mind rather that an alluring body meant to attract the male gaze. They suggest that women look at themselves differently from men looking at them, that a woman is more innately creative than a man. Many of Feuerman's figures have a fragmented quality, recalling those by Auguste Rodin, and the aesthetics of Surrealism. This is the most comprehensive survey of Feuerman's work in sculpture to date. Lavishly illustrated in colour throughout, it demonstrates the variety of materials and media she uses and highlights the specific qualities of her figures.

Moscovici proposes a new understanding of how gender relations were reformulated by both male and female writers in nineteenth-century France. She analyzes the different versions of gendered citizenship elaborated by Friedrich Hegel, George Sand, Honore de Balzac, Auguste Comte and Herculine Barbin revealing a shift from a single dialectical (or male-centered) definition of citizenship to a double dialectical (or bi-gendered) one in which each sex plays an important role in subject-citizenship and is defined as the negation of the other sex. Moscovici further argues that a double dialectical pattern of androgyny endows women with a (relational) cultural identity that secures their paradoxical roles as both representatives and outsiders to subject-citizenship in nineteenth-century French society and culture.

Nearly eighty years have passed since the Holocaust. There have been hundreds of memoirs, histories and novels written about it, yet many fear that this important event may fall into oblivion. As Holocaust survivors pass away, their legacy of suffering, tenacity and courage could be forgotten. It is up to each generation to commemorate the victims, preserve their life stories and hopefully help prevent such catastrophes. These were my main motivations in writing this book, Holocaust Memories, which includes reviews of memoirs, histories, biographies, novels and films about the Holocaust. It was difficult to choose among the multitude of books on the subject that deserve our attention. I made my selections based partly on the works that are considered to be the most important on the subject; partly on wishing to offer some historical background about the Holocaust in different countries and regions that were occupied by or allied themselves with Nazi Germany, and partly on my personal preferences, interests and knowledge. The Nazis targeted European Jews as their main victims, so my book focuses primarily on them. At the same time, since the Nazis also targeted other groups they considered dangerous and inferior, I also review books about the sufferings of the Gypsies, the Poles and other groups that fell victim to the Nazi regimes. In the last part, I review books that discuss other genocides and crimes against humanity, including the Stalinist mass purges, the Cambodian massacres by the Pol Pot regime and the Rwandan genocide. I want to emphasize that history can, indeed, repeat itself, even if in different forms and contexts. Just as the Jews of Europe were not the only targets of genocide, Fascist regimes were not its only perpetrators.

This psychological thriller shows both the hypnotic appeal and the deadly danger of psychopathic seduction. This novel traces the downfall of a married woman, Ana. Feeling trapped in a lackluster marriage, she has a torrid affair with Michael, a man who seems to be her soul mate and her dream come true. Having already tired of his fiancee, Karen-in spite of the fact she does everything possible to please him and keep him in her life-the seducer moves on to his next prey. Although initially torn between love for her family and her passion for Michael, Ana eventually relents to her lover's pressure. That's when Michael's "mask of sanity" unpeels to reveal the monstrously selfish psychopath underneath. Written in the tradition of Tolstoy's Anna Karenina, The Seducer shows that true love can be found in our ordinary lives rather than in flimsy fantasies masquerading as great passions.

What do Scott Peterson, Neil Entwistle and timeless literary seducers epitomized by Don Juan and Casanova have in common? They are charismatic, glib and seductive men who also embody the most dangerous human qualities: a breathtaking callousness, shallowness of emotion and the incapacity to love. In other words, these men are psychopaths. Unfortunately, most psychopaths don't advertise themselves as heartless social predators. They come across as charming, intelligent, romantic and kind. Through their believable "mask of sanity," they lure many of us into their dangerous nets. Dangerous Liaisons explains clearly what psychopaths are, why they act the way they do, how they attract us and whom they tend to target. Above all, this book helps victims find the strength to end their toxic relationships with psychopaths and move on, stronger and wiser, with the rest of their lives.

Claudia Moscovici asserts in Romanticism and Postromanticism that the Romantic heritage, far from being important only in a historical sense, has philosophical relevance and value for contemporary art and culture. With an emphasis on artistic tradition as a continuing source of inspiration and innovation, she touches upon each main branch of philosophy: aesthetics, epistemology, and ethics. The book begins by describing some of the most interesting features of the Romantic movement that still fuel our culture. It then addresses the question: How did an artistic movement whose focus was emotive expression change into a quest for formal experimentation? And finally, Moscovici considers the aesthetic philosophy of postromanticism by thinking through how the Romantic emphasis upon beauty and passion can be combined with the modern and postmodern emphasis on originality and experimentation.

This book introduces students and the general public to the post-Stalinist phase of totalitarianism, focusing on Romania under the Ceausescu dictatorship, through the dual optic of scholarship and fiction, in a story about a family surviving difficult times under a totalitarian regime due to the strength of their love.

The Painful Poignancy of Desire is an introduction to Romantic and Postromantic poetry. Professor Moscovici's exegesis places an emphasis on passion, which is more than merely a romantic theme; passion is the Romantic ethos. Students of literature often wonder why writings from centuries ago are given seemingly permanent places in the canon, and are studied extensively in an undergraduate setting. The Painful Poignancy of Desire addresses contemporary students' desire to know why older works are relevant, and indeed necessary to their lives and study. By presenting aspects of the Romantic and Postromantic movements in poetry, including her own poetry, Professor Moscovici illustrates that these cultural movements are a significant part of history because they illuminate the origins of an individual's pleasures, sense of beauty, and ultimately, our hope. These movements continue to awaken our emotions, imaginations, sensibilities, and creativity. They offer a wealth of riches in literary and human history.