According to Michel Henry, no thinker has been more influential than Marx, and no one has been more misunderstood. With his characteristic clarity and elegance, Henry seeks to pull out the philosophical heart of Marx's work and the reasons this complex philosophy has so often been simplified, distorted and obscured. Marx: An Introduction is not just a recovery of the theoretical centre of Marx's thinking, but also a brilliant introduction to the work of Marx in general; concise and punchy without glossing over the difficult material, it provides a totally fresh reading of Marx's corpus. Michel Henry shares with Marx a concern for the living work and the living individual and this shared preoccupation is brilliantly conveyed throughout the book. An essential read for those wrestling with Marx for the first time, and those looking for a new way to approach well-trodden territory.

From beginning to end, the philosophy of Michel Henry offers an original and profound reflection on life. Henry challenges the conventional understanding of life as a set of natural processes and a general classification of beings. Maintaining that our access to the meaning of life has been blocked by naturalism as well as by traditional philosophical assumptions, Henry carries out an enterprise that can rightfully be called "radical." His phenomenology leads back to the original dimension of life-to a reality that precedes and conditions the natural sciences and even objectivity as such. The Michel Henry Reader is an indispensable resource for those who are approaching Henry for the first time as well as for those who are already familiar with his work. It provides broad coverage of the major themes in his philosophy and new translations of Henry's most important essays. Sixteen chapters are divided into four parts, demonstrating the profound implications of Henry's philosophy of life for phenomenology; for subjectivity; for politics, art, and language; and for ethics and religion.

According to Michel Henry, no thinker has been more influential than Marx, and no one has been more misunderstood. With his characteristic clarity and elegance, Henry seeks to pull out the philosophical heart of Marx's work and the reasons this complex philosophy has so often been simplified, distorted and obscured. Marx: An Introduction is not just a recovery of the theoretical centre of Marx's thinking, but also a brilliant introduction to the work of Marx in general; concise and punchy without glossing over the difficult material, it provides a totally fresh reading of Marx's corpus. Michel Henry shares with Marx a concern for the living work and the living individual and this shared preoccupation is brilliantly conveyed throughout the book. An essential read for those wrestling with Marx for the first time, and those looking for a new way to approach well-trodden territory.

In this edited collection of essays, ten experts in film philosophy explore the importance of transcendence for understanding cinema as an art form. They analyze the role of transcendence for some of the most innovative film directors: David Cronenberg, Karl Theodor Dreyer, Federico Fellini, Werner Herzog, Stanley Kubrick, David Lynch, Terrence Malick, Yasujiro Ozu, and Martin Scorsese. Meanwhile they apply concepts of transcendence from continental philosophers like Alain Badiou, Gilles Deleuze, Martin Heidegger, Michel Henry, Edmund Husserl, Karl Jaspers, Soren Kierkegaard, Maurice Merleau-Ponty, Friedrich Nietzsche, and Jean-Paul Sartre. Each of the ten chapters results in a different perspective about what transcendence means and how it is essential to film as an art medium. Several common threads emerge among the chapters. The contributors find that the limitations of human existence are frequently made evident in moments of transcendence, so as to bring characters to the margins of their assumed world. At other times, transcendence goes immanent, so as to emerge in experiences of the surprising nearness of being, as though for a radical intensification of life. Film can also exhibit "ciphers of transcendence" whereby symbolic events open us to greater realizations about our place in the world. Lastly, the contributors observe that transcendence occurs in film, not simply from isolated moments forced into a storyline, but in a manner rooted within an ontological rhythm peculiar to the film itself.

From beginning to end, the philosophy of Michel Henry offers an original and profound reflection on life. Henry challenges the conventional understanding of life as a set of natural processes and a general classification of beings. Maintaining that our access to the meaning of life has been blocked by naturalism as well as by traditional philosophical assumptions, Henry carries out an enterprise that can rightfully be called "radical." His phenomenology leads back to the original dimension of life-to a reality that precedes and conditions the natural sciences and even objectivity as such. The Michel Henry Reader is an indispensable resource for those who are approaching Henry for the first time as well as for those who are already familiar with his work. It provides broad coverage of the major themes in his philosophy and new translations of Henry's most important essays. Sixteen chapters are divided into four parts, demonstrating the profound implications of Henry's philosophy of life for phenomenology; for subjectivity; for politics, art, and language; and for ethics and religion.