Before the Renaissance and Reformation, holy images - the only independent images then in existence - were treated not as "art" but as objects of veneration. The faithful believed that these images, through their likeness to the person represented, became a tangible presence of the Holy and were able to work miracles, deliver oracles, and bring victory on the battlefield. In this magisterial book, one of the world's leading scholars of medieval art traces the long history of the image and its changing role in European culture. Belting's study of the iconic portrait opens in late antiquity, when Christianity reversed its original ban on images, adapted the cult images of the "pagans", and began developing an iconography of its own. The heart of the work focuses on the Middle Ages, both East and West, when images of God and the saints underwent many significant changes either as icons or as statues. The final section of Likeness and Presence surveys the Reformation and Renaissance periods, when new attitudes toward images inaugurated what Belting calls the "era of art" that continues to the present day - an era during which the aesthetic quality has become the dominant aspect of the image. Belting neither "explains" images nor pretends that images explain themselves. Rather, he works from the conviction that images reveal their meaning best by their use. Likeness and Presence deals with the beliefs, superstitions, hopes, and fears that come into play as people handle and respond to sacred images. Recognizing the tensions between image and word inherent in religion, Belting includes in an appendix many important historical documents that relate to the history and use of images. Profuselyillustrated, Likeness and Presence presents a compelling interpretation of the place of the image in Western history.

Walter Benjamin is one of the most fascinating and enigmatic intellectual figures of this century. Not only was he a thinker who made an enormous impact with his critical and philosophical writings, he shattered disciplinary and stylistic conventions. This collection, introduced by Susan Sontag, contains the most representative and illuminating selection of his work over a twenty-year period, and thus does full justice to the richness and the multi-dimensional nature of his thought. Included in these pages are aphorisms and townscapes, esoteric meditation and reminiscences of childhood, and reflections on language, psychology, aesthetics and politics.

"Dialectic of Enlightenment" is undoubtedly the most influential publication of the Frankfurt School of Critical Theory. Written during the Second World War and circulated privately, it appeared in a printed edition in Amsterdam in 1947. "What we had set out to do," the authors write in the Preface, "was nothing less than to explain why humanity, instead of entering a truly human state, is sinking into a new kind of barbarism."
Yet the work goes far beyond a mere critique of contemporary events. Historically remote developments, indeed, the birth of Western history and of subjectivity itself out of the struggle against natural forces, as represented in myths, are connected in a wide arch to the most threatening experiences of the present.
The book consists in five chapters, at first glance unconnected, together with a number of shorter notes. The various analyses concern such phenomena as the detachment of science from practical life, formalized morality, the manipulative nature of entertainment culture, and a paranoid behavioral structure, expressed in aggressive anti-Semitism, that marks the limits of enlightenment. The authors perceive a common element in these phenomena, the tendency toward self-destruction of the guiding criteria inherent in enlightenment thought from the beginning. Using historical analyses to elucidate the present, they show, against the background of a prehistory of subjectivity, why the National Socialist terror was not an aberration of modern history but was rooted deeply in the fundamental characteristics of Western civilization.
Adorno and Horkheimer see the self-destruction of Western reason as grounded in a historical and fateful dialectic between the domination of external nature and society. They trace enlightenment, which split these spheres apart, back to its mythical roots. Enlightenment and myth, therefore, are not irreconcilable opposites, but dialectically mediated qualities of both real and intellectual life. "Myth is already enlightenment, and enlightenment reverts to mythology." This paradox is the fundamental thesis of the book.
This new translation, based on the text in the complete edition of the works of Max Horkheimer, contains textual variants, commentary upon them, and an editorial discussion of the position of this work in the development of Critical Theory.

This volume makes available in English for the first time Adorno's lectures on metaphysics. It provides a unique introduction not only to metaphysics but also to Adorno's own intellectual standpoint, as developed in his major work "Negative Dialectics."
Metaphysics for Adorno is defined by a central tension between concepts and immediate facts. Adorno traces this dualism back to Aristotle, whom he sees as the founder of metaphysics. In Aristotle it appears as an unresolved tension between form and matter. This basic split, in Adorno's interpretation, runs right through the history of metaphysics. Perhaps not surprisingly, Adorno finds this tension resolved in the Hegelian dialectic.
Underlying this dualism is a further dichotomy, which Adorno sees as essential to metaphysics: while it dissolves belief in transcendental worlds by thought, at the same time it seeks to rescue belief in a reality beyond the empirical, again by thought. It is to this profound ambiguity, for Adorno, that the metaphysical tradition owes its greatness.
The major part of these lectures, given by Adorno late in his life, is devoted to a critical exposition of Aristotle's thought, focusing on its central ambiguities. In the last lectures, Adorno's attention switches to the question of the relevance of metaphysics today, particularly after the Holocaust. He finds in metaphysical experiences, which transcend rational discourse without lapsing into irrationalism, a last precarious refuge of the humane truth to which his own thought always aspired.
This volume will be essential reading for anyone interested in Adorno's work and will be a valuable text for students and scholars of philosophy and social theory.

Philosophers and social scientists have for decades - centuries even - tied themselves in knots over the supposed problem of 'individual' versus 'society', and its offshoots such as 'agency' and 'structure'. Elias shows the falsity of problem, which ought to be easily resolved by thinking in terms of processes extending over the generations - though in practice the baleful influence of philosophy leads to its constant resurrection. "The Society of Individuals" consists of three essays, the first written in 1939, the second dating from the 1940s and 1950s, and the third a final reflection composed in 1987 only three years before Elias' death. In each, Elias takes the discussion to a new level, demonstrating that individualisation is an inherent component of the personal socialisation process and of inter-generational civilising processes, exploding the myth of the 'We-less ego', and introducing important conceptual innovations, including 'I-identity' versus 'We-identity' and the 'We-I balance'.

Ranging in date from Elias's teenage years before the First World War to the 1930s, the writings in this volume previously unpublished in English include the essay 'On Seeing in Nature', his doctoral dissertation 'Idea and Individual', a response to Karl Mannheim's famous paper on cultural competition, and a number of short stories contributed to a newspaper. Other essays collected together here concern primitive art, the sociology of German anti-Semitism, kitsch style and the age of kitsch, and the expulsion of the Huguenots from France. This edition includes as an appendix a draft outline of Elias's Habilitation thesis begun under Alfred Weber. Early Writings have been translated from the German edition, Fruschriften, published by Suhrkamp Verlag, Frankfurt/Main as volume 1 of the Norbert Elias Gesammelte Schriften, 2002.

Walter Benjamin's essays on the great French lyric poet Charles Baudelaire revolutionized not just the way we think about Baudelaire, but our understanding of modernity and modernism as well. In these essays, Benjamin challenges the image of Baudelaire as late-Romantic dreamer, and evokes instead the modern poet caught in a life-or-death struggle with the forces of the urban commodity capitalism that had emerged in Paris around 1850. The Baudelaire who steps forth from these pages is the flaneur who affixes images as he strolls through mercantile Paris, the ragpicker who collects urban detritus only to turn it into poetry, the modern hero willing to be marked by modern life in its contradictions and paradoxes. He is in every instance the modern artist forced to commodify his literary production: "Baudelaire knew how it stood with the poet: as a flaneur he went to the market; to look it over, as he thought, but in reality to find a buyer." Benjamin reveals Baudelaire as a social poet of the very first rank.

The introduction to this volume presents each of Benjamin's essays on Baudelaire in chronological order. The introduction, intended for an undergraduate audience, aims to articulate and analyze the major motifs and problems in these essays, and to reveal the relationship between the essays and Benjamin's other central statements on literature, its criticism, and its relation to the society that produces it.

One-Way Street is a thoroughfare unlike anything else in literature-by turns exhilarating and bewildering, requiring mental agility and a special kind of urban literacy. Presented here in a new edition with expanded notes, this genre-defying meditation on the semiotics of late-1920s Weimar culture offers a fresh opportunity to encounter Walter Benjamin at his most virtuosic and experimental, writing in a vein that anticipates later masterpieces such as "On the Concept of History" and The Arcades Project. Composed of sixty short prose pieces that vary wildly in style and theme, One-Way Street evokes a dense cityscape of shops, cafes, and apartments, alive with the hubbub of social interactions and papered over with public inscriptions of all kinds: advertisements, signs, posters, slogans. Benjamin avoids all semblance of linear narrative, enticing readers with a seemingly random sequence of aphorisms, reminiscences, jokes, off-the-cuff observations, dreamlike fantasias, serious philosophical inquiries, apparently unserious philosophical parodies, and trenchant political commentaries. Providing remarkable insight into the occluded meanings of everyday things, Benjamin time and again proves himself the unrivalled interpreter of what he called "the soul of the commodity." Despite the diversity of its individual sections, Benjamin's text is far from formless. Drawing on the avant-garde aesthetics of Dada, Constructivism, and Surrealism, its unusual construction implies a practice of reading that cannot be reduced to simple formulas. Still refractory, still radical, One-Way Street is a work in perpetual progress.

Gridlocked, asphyxiating cities. Looming climate disaster. A main cause of this nightmare is the conventional car and its basic design which is unchanged since its origin in the nineteenth century. ‘The Ghost Car’ is the fascinating story of a radically different type of urban car which could sweep away the traffic jams and the air pollution and energy wastage that go with them. The inventor, and author of this book, Edmund Jephcott, gave up an academic career in a determined bid to turn his idea into reality. He built a successful prototype which was presented to major car producers worldwide. The vehicle was well received by the public and press. Yet… the traffic jams are still there, along with the ever-_worsening weather events and fears of some ultimate catastrophe. Why? This book gives the answer, and readers of it might never look at existing cars in the same way again.

In this profound book, Elias characteristically turns an ancient philosophical question - what is time? - into a researchable theoretical-empirical problem. What we call 'time' is neither an innate property of the human mind nor an immutable quality of the 'external' world. Rather it is an achievement of the human capacity for 'synthesis', for using symbolic thought to make connections between two or more sequences of events. In the course of human social development, that capacity has itself changed and developed. It is originally written in English. Two later additional sections have been translated by Edmund Jephcott.

"Dialectic of Enlightenment" is undoubtedly the most influential publication of the Frankfurt School of Critical Theory. Written during the Second World War and circulated privately, it appeared in a printed edition in Amsterdam in 1947. "What we had set out to do," the authors write in the Preface, "was nothing less than to explain why humanity, instead of entering a truly human state, is sinking into a new kind of barbarism."
Yet the work goes far beyond a mere critique of contemporary events. Historically remote developments, indeed, the birth of Western history and of subjectivity itself out of the struggle against natural forces, as represented in myths, are connected in a wide arch to the most threatening experiences of the present.
The book consists in five chapters, at first glance unconnected, together with a number of shorter notes. The various analyses concern such phenomena as the detachment of science from practical life, formalized morality, the manipulative nature of entertainment culture, and a paranoid behavioral structure, expressed in aggressive anti-Semitism, that marks the limits of enlightenment. The authors perceive a common element in these phenomena, the tendency toward self-destruction of the guiding criteria inherent in enlightenment thought from the beginning. Using historical analyses to elucidate the present, they show, against the background of a prehistory of subjectivity, why the National Socialist terror was not an aberration of modern history but was rooted deeply in the fundamental characteristics of Western civilization.
Adorno and Horkheimer see the self-destruction of Western reason as grounded in a historical and fateful dialectic between the domination of external nature and society. They trace enlightenment, which split these spheres apart, back to its mythical roots. Enlightenment and myth, therefore, are not irreconcilable opposites, but dialectically mediated qualities of both real and intellectual life. "Myth is already enlightenment, and enlightenment reverts to mythology." This paradox is the fundamental thesis of the book.
This new translation, based on the text in the complete edition of the works of Max Horkheimer, contains textual variants, commentary upon them, and an editorial discussion of the position of this work in the development of Critical Theory.

This classic study of the life of the nobility at the royal court of France, especially under Louis XIV, has long been out of print. Recognised by historians as the benchmark for studies of early modern courts, which were an important but long neglected phase in the growth of the 'civilising' constraints imposed on people in increasingly complex networks of interdependence. Elias shows how courtiers - and finally even the king himself - were entrapped in a web of etiquette and ceremonial, how their expenses, even down to details of their houses and households, were dictated by their rank rather than their income. Includes appendix on the parallels between factional competition at the royal court and within Hitler's regime. Originally published in German in 1969 as Die hofische Gesellschaft.

Vol. 17 of the Collected Works can serve as an excellent introduction to Elias's thinking overall. In the last decade of his life, Elias gave many interviews in which he discussed aspects of his work, rebutting many common misunderstandings of his thinking and further developing ideas sketched out in his writings. Besides a selection of these 'academic' interviews (many of them not previously published in English, or not published at all), the book contains his essay in intellectual autobiography and a long interview in which he talks about his own life.