The late David Wills spent a lifetime in the service of the so-called delinquent, the misfit, the maladjusted. He was the first Englishman to train as a psychiatric social worker and was well known for his books The Hawkspur Experiment, The Barns Experiment, etc. Originally published in 1970, this book describes another experiment with a hostel for boys leaving schools for maladjusted children and lacking any settled home from which to enter the community. It demonstrates once again David Wills’s conviction that the offender wants to be ‘good’ and will be helped by affection rather than by punishment. Yet it is obvious that the work was full of stress and that only people with some of the attributes of archangels could respond to the boys’ needs and remain in control of the situation. The book demonstrates the extent of deprivation suffered by such young people and that no ordinary hostels or lodgings will do if they are to be set upon a less turbulent course of life, leading to truly adult independence. It added greatly to our understanding of the personalities, experience of life and needs of maladjusted boys in their ‘teens at the time, although the lessons drawn from it were disturbing in relation both to prevention and treatment. The penetration of David Wills’s assessment is beyond doubt and (as Dame Eileen Younghusband concludes in her Foreword) his book will give a great deal to those ‘trying in various capacities to help boys and girls who otherwise would grow into adulthood permanently handicapped emotionally and socially’. This book is a re-issue originally published in 1970. The language used is a reflection of its era and no offence is meant by the Publishers to any reader by this re-publication.

The late David Wills spent a lifetime in the service of the so-called delinquent, the misfit, the maladjusted. He was the first Englishman to train as a psychiatric social worker and was well known for his books The Hawkspur Experiment, The Barns Experiment, etc. Originally published in 1970, this book describes another experiment with a hostel for boys leaving schools for maladjusted children and lacking any settled home from which to enter the community. It demonstrates once again David Wills's conviction that the offender wants to be 'good' and will be helped by affection rather than by punishment. Yet it is obvious that the work was full of stress and that only people with some of the attributes of archangels could respond to the boys' needs and remain in control of the situation. The book demonstrates the extent of deprivation suffered by such young people and that no ordinary hostels or lodgings will do if they are to be set upon a less turbulent course of life, leading to truly adult independence. It added greatly to our understanding of the personalities, experience of life and needs of maladjusted boys in their 'teens at the time, although the lessons drawn from it were disturbing in relation both to prevention and treatment. The penetration of David Wills's assessment is beyond doubt and (as Dame Eileen Younghusband concludes in her Foreword) his book will give a great deal to those 'trying in various capacities to help boys and girls who otherwise would grow into adulthood permanently handicapped emotionally and socially'. This book is a re-issue originally published in 1970. The language used is a reflection of its era and no offence is meant by the Publishers to any reader by this re-publication.

Originally published in 1945, this is a concise account of the remarkable experiment with boys carried out by the author of The Hawkspur Experiment. The war put this latter experiment into abeyance, but gave its author an opportunity to practice his principles on a group of younger difficult boys. Aged from eight to fourteen, these boys were the "throw-outs" of the Evacuation Scheme, but before the Barns experiment had been long in operation troublesome boys were being evacuated not primarily to escape bombs, but in order that they might have the treatment that Barns provided. Barns was a Hostel-school initiated by the Society of Friends, where lawless boys made their own laws, and where the principle instrument in their reformation was not punishment but affection. So successful were the unconventional methods here described that sceptics were convinced, and Barns has now achieved a permanent place in the field of "the therapy of the dis-social." Today it would be described as a therapeutic community and is one of the earliest experiments of its kind that raised awareness and paved the way for further research in this area.

Originally published in 1941 and written in an attempt to dispute the popular assumption at the time that a 'bit of discipline' is what is needed for the correction of young men who show delinquent tendencies, this book is much more than that. Basically an account of a kind of voluntary Borstal Institution of which the author was head from 1936 to 1940, its interest on reissue in 1967 lay in the fact that it contained the germinal ideas of most of the day's newest methods in penal treatment, not just as ideas, but in practice. Here is the therapeutic community in embryo, here are the beginnings of group therapy, of inmate participation in treatment, of therapy through relationships. None of them are mentioned by name - the names had not been invented; but anyone who wanted to understand the trends in the treatment of delinquent and maladjusted people at the time would find it all here in simple untechnical English. The book is also an account of an enthralling experience, exciting and interesting in itself, apart from any social significance. Just before the camp started, Alec Paterson said to David Wills, 'Do you really think you can run a place of this kind without the use of punishment?' Wills said he didn't know, but looked forward to trying. Readers of this book may judge for themselves how far he succeeded. A particularly interesting feature of this edition is the account of the subsequent lives of the many boys who were at Hawkspur.

Matchbook consists of nine essays written around, or in response to, work published by Jacques Derrida since 1980. The focal point of the essays is the "Envois," which forms part of Derrida's Post Card. Particular attention is paid to how that text articulates with the ethical and political emphases of Derrida's more recent work, but also to its autobiographical conceit. The "incendiary" reference of the book's title underscores deconstruction's engagement with questions of reading: relations between (slow) reading and the speed of technology, and the political effects of an internationalized deconstruction in a globalized culture. It is in terms of what deconstruction can have us think about the speed of technology and technologies of reading that Derrida's work has made one of its most important contributions to philosophy and literary and cultural studies. The book concentrates on that as proof of the continued relevance of such work.

Jean-Luc Godard's Pierrot le fou, made at the height of the French New Wave, remains a milestone in French cinema. More accessible than his later films, it represents the diverse facets of Godard's concerns and themes: a bittersweet analysis of male-female relations; an interrogation of the image; personal and international politics; the existential dilemmas of consumer society. This volume, first published in 2000, brings together essays by five prominent scholars of French film. They approach Pierrot le fou from the perspectives of image-and-word-play, aesthetics and politics, history, and high and popular culture, offering thought-provoking insights into the film, while demonstrating its relevance for a new generation of students of film. Also included are a selection of reviews of the film, as well as a complete filmography of Godard's work.

Prosthesis is an experiment in critical writing that both analyses and performs certain questions about the body as an "artificial" construction. The book deals with the mechanical (e.g., a mechanical prosthesis like an artificial leg) in that most humanistic of discourses, the artistic - in order to demonstrate how far a supposedly natural creation relies on artificial devices of various kinds. Cutting across the terrains occupied traditionally by the history of medicine, film studies, art history, philosophy, psychoanalysis, literary theory, and fiction, its impeccable scholarship demonstrates the permeability of the frontiers that define academic regions and delimit a scholarship determined to ascertain, to describe and prescribe, to hold in check and dominate as fields of knowledge what are in fact fields of practice, intervention, and invention.

First published in 1999, this volume aims to explore the impact of China's recent economic reforms and dynamic economic progress on land use, the property market and construction activity under the leadership of Deng Xiaoping until his death in 1997. Following the famine and bloody mayhem of Mao Zedong's Great Leap Forward and Cultural Revolution, Deng Xiaoping took on the task of piecing the country back together to once more become a leading world economy. Here, Jean Jinghan Chen and David Wills concentrate on his reforms and progress, examining at what point power can be said to have passed from Deng Xiaoping to Jiang Zemin, to what extent Deng's political philosophy remained in place under the new government and what this means for China's economic reforms on land, property and construction. The authors provide a view on how management of the physical environment needs to be considered in the context of economic progress to achieve sustainable development.

First published in 1999, this volume aims to explore the impact of China's recent economic reforms and dynamic economic progress on land use, the property market and construction activity under the leadership of Deng Xiaoping until his death in 1997. Following the famine and bloody mayhem of Mao Zedong's Great Leap Forward and Cultural Revolution, Deng Xiaoping took on the task of piecing the country back together to once more become a leading world economy. Here, Jean Jinghan Chen and David Wills concentrate on his reforms and progress, examining at what point power can be said to have passed from Deng Xiaoping to Jiang Zemin, to what extent Deng's political philosophy remained in place under the new government and what this means for China's economic reforms on land, property and construction. The authors provide a view on how management of the physical environment needs to be considered in the context of economic progress to achieve sustainable development.

Now in paperback, nine lectures from Jacques Derrida that challenge the influential Marxist distinction between thinking and acting. Theory and Practice is a series of nine lectures that Jacques Derrida delivered at the École Normale Supérieure in 1976 and 1977. The topic of “theory and practice� was associated above all with Marxist discourse and particularly the influential interpretation of Marx by Louis Althusser. Derrida’s many questions to Althusser and other thinkers aim at unsettling the distinction between thinking and acting.   Derrida’s investigations set out from Marx’s “Theses on Feuerbach,� in particular the eleventh thesis, which has often been taken as a mantra for the “end of philosophy,� to be brought about by Marxist practice. Derrida argues, however, that Althusser has no such end in view and that his discourse remains resolutely philosophical, even as it promotes the theory/practice pair as primary values. This seminar also draws fascinating connections between Marxist thought and Heidegger and features Derrida’s signature reconsideration of the dichotomy between doing and thinking. This text, available for the first time in English, shows that Derrida was doing important work on Marx long before Specters of Marx. As with the other volumes in this series, it gives readers an unparalleled glimpse into Derrida’s thinking at its best—spontaneous, unpredictable, and groundbreaking.

Matchbook consists of nine essays written around, or in response to, work published by Jacques Derrida since 1980. The focal point of the essays is the "Envois," which forms part of Derrida's Post Card. Particular attention is paid to how that text articulates with the ethical and political emphases of Derrida's more recent work, but also to its autobiographical conceit. The "incendiary" reference of the book's title underscores deconstruction's engagement with questions of reading: relations between (slow) reading and the speed of technology, and the political effects of an internationalized deconstruction in a globalized culture. It is in terms of what deconstruction can have us think about the speed of technology and technologies of reading that Derrida's work has made one of its most important contributions to philosophy and literary and cultural studies. The book concentrates on that as proof of the continued relevance of such work.

To je knjiga, ki ne bo pustila hladnega nikogar, ki ga zanimajo, ali profesionalno ali kot starsa, mladi otroci. In tudi drugo, morda se vecjo pomembnost za druzbo kot celoto ima, zakaj to so otroci, ki, ce se jim ne pomaga, postanejo potencialni zlocinci jutrisnjega dne. Delo, kot je delo g. Willsa, jim pomaga omogociti, da postanejo ustvarjalni, raje kot unicevalni, clani druzbe. In nad vsem, vsaka stran je polna cloveskega zanimanja, neskoncno spodbujajoca in ce se strinjas s pogledi g. Willsa ali ne, nezmotljivo pozivljajoca in popolnoma izzivalna.

This book explores some of the ways in which contemporary literary theory can be used to read fiction. In particular, it focuses on Thomas Pynchon's three novels to date and his collection of early stories. The theories exploited are concentrated in the work of Jacques Derrida.

This fascinating publication presents the roles two men have played in turning a small workshop in nineteenth-century Paris into one of the most successful and recognized brands in the world. Known for both craftsmanship and must-have high design, Louis Vuitton the luxury house was started by its eponymous founder in 1854. The first half of this publication traces the innovations by Vuitton, who turned the little-known guild profession of emballeur (packer) into the foremost luxury trunk maker in Paris, with a clientele that included in his lifetime the French nobility as well as the elite of a prosperous empire. Prime and never-before-seen examples of Vuitton's craftsmanship, along with the fashion that went into them, are the highlights of these chapters. The second half of the book examines the role of Marc Jacobs as Louis Vuitton's creative director (since 1997), who took the Louis Vuitton house into a new era with a series of collaborations with artists and designers-such as Takashi Murakami, Richard Prince, and Stephen Sprouse-as well as designing a line of highly successful and desired clothing for the company. By examining two divergent but often similar careers one hundred years apart, Louis Vuitton / Marc Jacobs is not only a layered study of the evolution of a luxury brand in the past 150 years but also a celebration of technical and design innovations in the new century.

Killing Times begins with the deceptively simple observation-made by Jacques Derrida in his seminars on the topic-that the death penalty mechanically interrupts mortal time by preempting the typical mortal experience of not knowing at what precise moment we will die. Through a broader examination of what constitutes mortal temporality, David Wills proposes that the so-called machinery of death summoned by the death penalty works by exploiting, or perverting, the machinery of time that is already attached to human existence. Time, Wills argues, functions for us in general as a prosthetic technology, but the application of the death penalty represents a new level of prosthetic intervention into what constitutes the human. Killing Times traces the logic of the death penalty across a range of sites. Starting with the legal cases whereby American courts have struggled to articulate what methods of execution constitute "cruel and unusual punishment," Wills goes on to show the ways that technologies of death have themselves evolved in conjunction with ideas of cruelty and instantaneity, from the development of the guillotine and the trap door for hanging, through the firing squad and the electric chair, through today's controversies surrounding lethal injection. Responding to the legal system's repeated recourse to storytelling-prosecutors' and politicians' endless recounting of the horrors of crimes-Wills gives a careful eye to the narrative, even fictive spaces that surround crime and punishment. Many of the controversies surrounding capital punishment, Wills argues, revolve around the complex temporality of the death penalty: how its instant works in conjunction with forms of suspension, or extension of time; how its seeming correlation between egregious crime and painless execution is complicated by a number of different discourses. By pinpointing the temporal technology that marks the death penalty, Wills is able to show capital punishment's expansive reach, tracing the ways it has come to govern not only executions within the judicial system, but also the opposed but linked categories of the suicide bombing and drone warfare. In discussing the temporal technology of death, Wills elaborates the workings both of the terrorist who produces a simultaneity of crime and "punishment" that bypasses judicial process, and of the security state, in whose remote-control killings the time-space coordinates of "justice" are compressed and at the same time disappear into the black hole of secrecy. Grounded in a deep ethical and political commitment to death penalty abolition, Wills's engaging and powerfully argued book pushes the question of capital punishment beyond the confines of legal argument to show how the technology of capital punishment defines and appropriates the instant of death and reconfigures the whole of human mortality.

Audrey Hepburn, 60s icon.

Audrey Hepburn charmed audiences in the 1950s as a new type of cinema personality--gamine, doe-eyed, and refreshingly casual. By the 1960s she had transformed into a trendsetting sophisticate and achieved unrivaled careers as an actress, model, movie star, and champion for underprivileged children worldwide. Curator and photographic preservationist David Wills has amassed one of the world's largest private collections of original Audrey Hepburn photographs. Now, in Audrey: The 60s, he has gathered spectacular museum-quality work from her key photographers--Richard Avedon, Bert Stern, Cecil Beaton, Douglas Kirkland, William Klein, Terry O'Neill, Howell Conant, Bob Willoughby, Pierluigi Pratulon, Bud Fraker, and many others--to create this stunning portfolio of images that pays homage to the most beloved and enduring style icon of the "decade of change."

Among the highlights:

Rare and classic images digitally restored from their original negatives and transparencies.

Never-before-seen publicity photos and candids from the sets of Breakfast at Tiffany's, Charade, My Fair Lady, How to Steal a Million, and Two for the Road.

Unpublished outtakes and rarely seen images from Vogue fashion sessions, some not published since their original appearance.

Previously unpublished photos by Bert Stern, Cecil Beaton, Douglas Kirkland, William Klein, Howell Conant, Bob Willoughby, Pierluigi Pratulon, and many others.

Pairing more than two hundred first-generation photos with reflections and original quotes from friends, photographers, designers, work associates, and Audrey herself, Audrey: The 60s is an unforgettable showcase of the actress's timeless beauty and extraordinarily influential style.

Killing Times begins with the deceptively simple observation—made by Jacques Derrida in his seminars on the topic—that the death penalty mechanically interrupts mortal time by preempting the typical mortal experience of not knowing at what precise moment we will die. Through a broader examination of what constitutes mortal temporality, David Wills proposes that the so-called machinery of death summoned by the death penalty works by exploiting, or perverting, the machinery of time that is already attached to human existence. Time, Wills argues, functions for us in general as a prosthetic technology, but the application of the death penalty represents a new level of prosthetic intervention into what constitutes the human. Killing Times traces the logic of the death penalty across a range of sites. Starting with the legal cases whereby American courts have struggled to articulate what methods of execution constitute “cruel and unusual punishment,� Wills goes on to show the ways that technologies of death have themselves evolved in conjunction with ideas of cruelty and instantaneity, from the development of the guillotine and the trap door for hanging, through the firing squad and the electric chair, through today’s controversies surrounding lethal injection. Responding to the legal system’s repeated recourse to storytelling—prosecutors’ and politicians’ endless recounting of the horrors of crimes—Wills gives a careful eye to the narrative, even fictive spaces that surround crime and punishment. Many of the controversies surrounding capital punishment, Wills argues, revolve around the complex temporality of the death penalty: how its instant works in conjunction with forms of suspension, or extension of time; how its seeming correlation between egregious crime and painless execution is complicated by a number of different discourses. By pinpointing the temporal technology that marks the death penalty, Wills is able to show capital punishment’s expansive reach, tracing the ways it has come to govern not only executions within the judicial system, but also the opposed but linked categories of the suicide bombing and drone warfare. In discussing the temporal technology of death, Wills elaborates the workings both of the terrorist who produces a simultaneity of crime and “punishment� that bypasses judicial process, and of the security state, in whose remote-control killings the time-space coordinates of “justice� are compressed and at the same time disappear into the black hole of secrecy. Grounded in a deep ethical and political commitment to death penalty abolition, Wills’s engaging and powerfully argued book pushes the question of capital punishment beyond the confines of legal argument to show how the technology of capital punishment defines and appropriates the instant of death and reconfigures the whole of human mortality.

There have been many Marilyn Monroe photo books--but nothing like this.

Curator and photographic preservationist David Wills has amassed one of the world's largest independent archives of original Marilyn Monroe photographs. Now, in Marilyn Monroe: Metamorphosis, he has gathered spectacular, museum-quality work from Marilyn's key photographers--Richard Avedon, George Barris, Cecil Beaton, Bernard of Hollywood, Andre de Dienes, Elliott Erwitt, Milton Greene, Philippe Halsman, Tom Kelley, Douglas Kirkland, Willy Rizzo, Sam Shaw, and many others--to create this dazzling portfolio of images from every period of Marilyn Monroe's adult life, from her wedding day in 1942 till just weeks before her death two decades later. Marilyn Monroe: Metamorphosis pays homage to her continually evolving style and extraordinary beauty.

Among the highlights:

Previously unseen Kodachrome, dye transfer, and Carbro prints of Norma Jeane from her modeling career.

Classic portraits and pinups in luscious full color, digitally restored from the original transparencies.

Never-before-seen photos from the sets of The Seven Year Itch, Some Like It Hot, The Misfits, and Something's Got to Give.

Rare candids of Marilyn with Marlon Brando, Clark Gable, Humphrey Bogart, Lauren Bacall, Ronald and Nancy Reagan, Queen Elizabeth II, Joe DiMaggio, Arthur Miller, and others.

Previously unpublished photos by Richard Avedon, George Barris, Cecil Beaton, David Conover, Elliott Erwitt, John Florea, Tom Kelley, Richard C. Miller, Frank Powolny, Willy Rizzo, Zinn Arthur, and many others.

Pairing more than two hundred first-generation photos with reflections on Marilyn from her friends, work associates, and admirers--and including her last interview, in which she reflects on her life and fame--Marilyn Monroe: Metamorphosis is an unforgettable showcase of the actress's transformation from an unknown factory worker to one of the most recognized faces in history.

The Gift of Death, Jacques Derrida's most sustained consideration of religion, explores questions first introduced in his book Given Time about the limits of the rational and responsible that one reaches in granting or accepting death, whether by sacrifice, murder, execution, or suicide. Derrida analyzes Czech philosopher Jan Patocka's Heretical Essays in the Philosophy of History and develops and compares his ideas to the works of Heidegger, Levinas, and Kierkegaard. One of Derrida's major works, The Gift of Death resonates with much of his earlier writing, and this highly anticipated second edition is greatly enhanced by David Wills's updated translation. This new edition also features the first-ever English translation of Derrida's Literature in Secret. In it, Derrida continues his discussion of the sacrifice of Isaac, which leads to bracing meditations on secrecy, forgiveness, literature, and democracy. He also offers a reading of Kafka's Letter to His Father and uses the story of the flood in Genesis as an embarkation point for a consideration of divine sovereignty. "An important contribution to the critical study of ethics that commends itself to philosophers, social scientists, scholars of religion . . . [and those] made curious by the controversy that so often attends Derrida."--Booklist, on the first edition

The Animal That Therefore I Am is the long-awaited translation of the complete text of Jacques Derridaas ten-hour address to the 1997 CA(c)risy conference entitled aThe Autobiographical Animal, a the third of four such colloquia on his work. The book was assembled posthumously on the basis of two published sections, one written and recorded session, and one informal recorded session.The book is at once an affectionate look back over the multiple roles played by animals in Derridaas work and a profound philosophical investigation and critique of the relegation of animal life that takes place as a result of the distinctionadating from Descartesabetween man as thinking animal and every other living species. That starts with the very fact of the line of separation drawn between the human and the millions of other species that are reduced to a single athe animal.a Derrida finds that distinction, or versions of it, surfacing in thinkers as far apart as Descartes, Kant, Heidegger, Lacan, and Levinas, and he dedicates extended analyses tothe question in the work of each of them.The bookas autobiographical theme intersects with its philosophical analysis through the figures of looking and nakedness, staged in terms of Derridaas experience when his cat follows him into the bathroom in the morning. In a classic deconstructive reversal, Derrida asks what this animal sees and thinks when it sees this naked man. Yet the experiences of nakedness and shame also lead all the way back into the mythologies of amanas dominion over the beastsa and trace a history of how man has systematically displaced onto the animal his own failings or bAatises. The Animal That Therefore I Am is at times a militant pleaand indictment regarding, especially, the modern industrialized treatment of animals. However, Derrida cannot subscribe to a simplistic version of animal rights that fails to follow through, in all its implications, the questions and definitions of alifea to which he returned in much of his later work.

The Animal That Therefore I Am is the long-awaited translation of the complete text of Jacques Derrida’s ten-hour address to the 1997 Cérisy conference entitled “The Autobiographical Animal,� the third of four such colloquia on his work. The book was assembled posthumously on the basis of two published sections, one written and recorded session, and one informal recorded session. The book is at once an affectionate look back over the multiple roles played by animals in Derrida’s work and a profound philosophical investigation and critique of the relegation of animal life that takes place as a result of the distinction—dating from Descartes—between man as thinking animal and every other living species. That starts with the very fact of the line of separation drawn between the human and the millions of other species that are reduced to a single “the animal.� Derrida finds that distinction, or versions of it, surfacing in thinkers as far apart as Descartes, Kant, Heidegger, Lacan, and Levinas, and he dedicates extended analyses to the question in the work of each of them. The book’s autobiographical theme intersects with its philosophical analysis through the figures of looking and nakedness, staged in terms of Derrida’s experience when his cat follows him into the bathroom in the morning. In a classic deconstructive reversal, Derrida asks what this animal sees and thinks when it sees this naked man. Yet the experiences of nakedness and shame also lead all the way back into the mythologies of “man’s dominion over the beasts� and trace a history of how man has systematically displaced onto the animal his own failings or bêtises. The Animal That Therefore I Am is at times a militant plea and indictment regarding, especially, the modern industrialized treatment of animals. However, Derrida cannot subscribe to a simplistic version of animal rights that fails to follow through, in all its implications, the questions and definitions of “life� to which he returned in much of his later work.

Jean-Luc Godard's Pierrot le fou, made at the height of the French New Wave, remains a milestone in French cinema. More accessible than his later films, it represents the diverse facets of Godard's concerns and themes: a bittersweet analysis of male-female relations; an interrogation of the image; personal and international politics; the existential dilemmas of consumer society. This volume, first published in 2000, brings together essays by five prominent scholars of French film. They approach Pierrot le fou from the perspectives of image-and-word-play, aesthetics and politics, history, and high and popular culture, offering thought-provoking insights into the film, while demonstrating its relevance for a new generation of students of film. Also included are a selection of reviews of the film, as well as a complete filmography of Godard's work.