Mourning Becomes the Law is the philosophical counterpart to the late Gillian Rose's acclaimed memoir Love's Work. It presents a powerful and eloquent case against postmodernism, and breathes new life into the debates about power and domination, transcendence and eternity. Addressing topics such as architecture, cinema, painting, poetry, the Holocaust and Judaism, Gillian Rose enables us to connect ideas about the individual and society with theories of justice. This is philosophy for the nonphilosopher.

Cities are key sites for the reproduction of global capitalism, and urban branding is central to this transformative dynamic. In the 21st century, cities are also being profoundly reconfigured by the deployment of many kinds of digital technologies. Both of these shifts entrain sensory bodily experiences. This digitally mediated reconfiguration of what cities feel like is what this book terms the new urban aesthetic. The book focuses on three examples of urban change in which digital technologies of different kinds were central: a large scale urban redevelopment in Doha, the retrofitting of Milton Keynes to become a smart city, and the cultural regeneration of Smithfield Market into the Culture Mile in London. Each case study focusses on a different kind of digital mediation, including the computer-generated images created to sell new urban developments, smart city phone apps, and Instagram posts about particular urban places. The book identifies three versions of the new urban aesthetic: glamorous, flowing, and dramatic. It shows how each of these organize sensory experiences through particular distributions of temporality and spatiality. As well as exploring the importance of sensory constellations in our digitally mediated cities, the book also offers ways to investigate their fragility and potential for subversion. The New Urban Aesthetic is essential reading for researchers and students in urban studies, architecture, digital studies, sociology, and human geography.

Family photography, a ubiquitous domestic tradition in the developed world, is now more popular than ever thanks to the development of digital photography. Once uploaded to PCs and other gadgets, photographs may be stored, deleted, put in albums, sent to relatives and friends, retouched, or put on display. Moreover, in recent years family photographs are more frequently appearing in public media: on posters, in newspapers and on the Internet, particularly in the wake of disasters like 9/11, and in cases of missing children. Here, case study material drawn from the UK offers a deeper understanding of both domestic family photographs and their public display. Recent work in material culture studies, geography, and anthropology is used to approach photographs as objects embedded in social practices, which produce specific social positions, relations and effects. Also explored are the complex economies of gifting and exchange amongst families, and the rich geographies of domestic and public spaces into which family photography offers an insight.

Two of the key theoretical shifts over the past two decades of critical work have been the 'visual turn' and the 'material turn'. This book argues that these hitherto distinct fields should be understood as in continual dialogue and co-constitution and focuses on reconceptualising the visual as an embodied, material, and often politically-charged realm. This edited volume elaborates this conceptual argument through a series of contemporary case studies, drawn from the disciplines of Architecture, Sociology, Media Studies, Geography and Cultural Studies. The case studies included are paired around four themes: consumption, translation, practice and ethics. As well as exploring the bringing together of visuality and materiality studies, the contributors raise questions of social identity and social critique, and also focus on the ethics of material visualities.

Have you found some exciting images that you want to explore but don't know how to start your research or what methods to choose? Do you have a question about an aspect of visual culture that you want to answer? Whatever level of experience you have, this classic text will provide you with the key skills you need to complete a visual methods research project, understand the rationale behind each step, and engage with the contexts and power relations that shape our interpretation of visual images. With a clear step-by-step approach that is easy to dip in and out of, the book features: *Key examples in every methods chapter to demonstrate how the methods work in practice and with different visual materials *'Focus' and 'Discussion' features that help you practice your skills at specific parts of the methods and understand some of the method's complexities *Guidance on researching using digital visual media, such as Instagram and TikTok, integrated throughout the book This bestselling critical guide is the perfect companion to visual methods projects for undergraduates, graduates, researchers and academics across the social sciences and humanities.

This book explores what's happening to ways of seeing urban spaces in the contemporary moment, when so many of the technologies through which cities are visualised are digital. Cities have always been pictured, in many media and for many different purposes. This edited collection explores how that picturing is changing in an era of digital visual culture. Analogue visual technologies like film cameras were understood as creating some sort of a trace of the real city. Digital visual technologies, in contrast, harvest and process digital data to create images that are constantly refreshed, modified and circulated. Each of the chapters in this volume examines a different example of how this processual visuality is reconfiguring the spatial and temporal organisation of urban life.

Mourning Becomes the Law is the philosophical counterpart to the late Gillian Rose's acclaimed memoir Love's Work. It presents a powerful and eloquent case against postmodernism, and breathes new life into the debates about power and domination, transcendence and eternity. Addressing topics such as architecture, cinema, painting, poetry, the Holocaust and Judaism, Gillian Rose enables us to connect ideas about the individual and society with theories of justice. This is philosophy for the nonphilosopher.

Have you found some exciting images that you want to explore but don't know how to start your research or what methods to choose? Do you have a question about an aspect of visual culture that you want to answer? Whatever level of experience you have, this classic text will provide you with the key skills you need to complete a visual methods research project, understand the rationale behind each step, and engage with the contexts and power relations that shape our interpretation of visual images. With a clear step-by-step approach that is easy to dip in and out of, the book features: *Key examples in every methods chapter to demonstrate how the methods work in practice and with different visual materials *'Focus' and 'Discussion' features that help you practice your skills at specific parts of the methods and understand some of the method's complexities *Guidance on researching using digital visual media, such as Instagram and TikTok, integrated throughout the book This bestselling critical guide is the perfect companion to visual methods projects for undergraduates, graduates, researchers and academics across the social sciences and humanities.

Shortly before her death, philosopher Gillian Rose began work on a new book-her Paradiso-thus fulfilling her promise at the end of Love's Work to 'stay in the fray, in the revel of ideas and risk'. Confident even only a week before her death that she could complete the work, all that remains are these fragments. In them, Rose combines the detached insight of one who is taking leave, or who has almost left, with a desire to participate in the joys of life until the last. Exceeding the injunction to 'keep your mind in hell and despair not', Paradiso sketches a movement through the hell and despair of terminal illness to an affirmation of the joys of companionship and memory. Paradiso contains some of Rose's most serene and affirmatory writing, and in that light completes one of the most remarkable philosophical oeuvres of the late twentieth century.

Geography is a subject which throughout its history has been dominated by men; men have undertaken the heroic explorations which form the mythology of its foundation, men have written most of its texts and, as many feminist geographers have remarked, men's interests have structured what counts as legitimate geographical knowledge. This book offers a sustained examination of the masculinism of contemporary geographical discourses.

Drawing on the work of feminist theories about the intersection of power, knowledge and subjectivity, different aspects of the discipline's masculinism are discussed in a series of essays which bring influential approaches in recent geography together with feminist accounts of the space of the everyday, the notion of a sense of place and views of landscape. In the final chapter, the spatial imagery of a variety of feminists is examined in order to argue that the geographical imagination implicit in feminist discussions of the politics of location is one example of a geography which does not deny difference in the name of a universal masculinity.

Gillian Rose is among the twentieth century's most important social philosophers. In perhaps her most significant work, Hegel Contra Sociology, Rose mounts a forceful defence of Hegelian speculative thought. Demonstrating how, in his criticisms of Kant and Fichte, Hegel supplies a preemptive critique of Weber, Durkheim, and all of the sociological traditions that stem from these "neo-Kantian" thinkers, Rose argues that any attempt to preserve Marxism from a similar critique and any attempt to renew sociology cannot succeed without coming to terms with Hegel's own speculative discourse. With an analysis of Hegel's mature works in light of his early radical writings, this book represents a profound step toward enacting just such a return to the Hegelian.

Marxist Modernism presents for the first time Gillian Rose's 1979 lectures on the Frankfurt School, art, and politics. Delivered soon after the publication of her now classic study of Adorno, The Melancholy Science, the lecture series expands upon this work to explore the lives and philosophies of a wider range of Frankfurt School members and affiliates: from Adorno, to Lukács, Brecht, Bloch, Benjamin, and Horkheimer. In particular, Rose discusses their debates concerning various twentieth-century modernist art movements, and outlines the ways in which each theorist developed Marx's theory of commodity fetishism into a Marxist theory of culture. Marxist Modernism serves as a comprehensive yet concise and conversational introduction to the Frankfurt School, but it also provides a new resource for one of the twentieth century's most important philosophers: Gillian Rose. The volume will provide an accessible encounter with Rose's thought for those not yet acquainted with her formidable work, while provoking a renewed engagement with the Marxist basis of her oeuvre for those who are. An Afterword by the renowned intellectual historian Martin Jay reviews the lectures and contextualises them within the wider reception of the Frankfurt School in the Anglophone world.

`If there is a single question that presses upon the intellect of the current generation of social scientists, it is surely: "what do the great insights of social theory imply for the way we conduct research and write about the social world?". Until now there has been no single text to turn to that explores the epistemological complexities of field work, the problems of writing and language, and of the logics of inquiry that link theory, method and evidence. Using Social Theory is a magisterial effort to open up the black-box of research methods, and to provide students, in a way that no other comparable text has done, with a road map for the practice of the contemporary human sciences' -

Michael Watts, Chancellor's Professor of Geography and Director Institute of International Studies, University of California, Berkeley

`From "theory talk to making it walk", Using Social Theory is one of the most useful and interesting books on the market. The authors demonstrate how to use philosophy and social theory as an indispensable toolkit for passionate and rigorous research. Essential reading for students and teachers in the social sciences and humanities' - Professor Elspeth Probyn, Department of Gender Studies, University of Sydney

Have you ever stopped to wonder about the influences that underpin research? If you are thinking about doing a piece of research, what difference might it make to the question you ask, to your approach to empirical work, analysis and writing of research, if you are influenced by one theoretical approach rather than another?

The chapters in this innovative guide share a common belief that thinking alongside ideas, philosophical persuasions, is an integral part of the research process; it is not an optional extra. It sets out ways to encourage the researcher to think through three key moments of the research process: the production of a research question; fieldwork; and analysis and writing.

As the authors demonstrate, research is not simply `done?: it has to be thought about and thought through. The book?s accessible style makes it suitable for anyone wishing to engage ideas in research in the social sciences and humanities.

Drawing lessons from the complex and often contradictory position of white women writing in the colonial period, This unique book explores how feminism and poststructuralism can bring new types of understanding to the production of geographical knowledge. Through a series of colonial and postcolonial case studies, essays address the ways in which white women have written and mapped different geographies, in both the late nineteenth century and today, illustrating the diverse objects (landscapes, spaces, views), the variety of media (letters, travel writing, paintings, sculpture, cartographic maps, political discourse), and the different understandings and representations of people and place.

Judaism and Modernity: Philosophical Essays challenges the philosophical presentation of Judaism as the sublime 'other' of modernity. Here, Gillian Rose develops a philosophical alternative to deconstruction and post-modernism by critically re-engaging the social and political issues at stake in every reconstruction.

"The Melancholy Science" is Gillian Rose's investigation into Theodor Adorno's work and legacy. Rose uncovers the unity discernable among the many fragments of Adorno's oeuvre, and argues that his influence has been to turn Marxism into a search for style.
The attempts of Adorno, Lukacs and Benjamin to develop a Marxist theory of culture centred on the concept of reification are contrasted, and the ways in which the concept of reification has come to be misused are exposed. Adorno's continuation for his own time of the Marxist critique of philosophy is traced through his writings on Hegel, Kierkegaard, Husserl and Heidegger. His opposition to the separation of philosophy and sociology is shown by examination of his critique of Durkheim and Weber, and of his contributions to the dispute over positivism, his critique of empirical social research and his own empirical sociology.
Gillian Rose shows Adorno's most important contribution to be his founding of a Marxist aesthetic that offers a sociology of culture, as demonstrated in his essays on Kafka, Mann, Beckett, Brecht and Schonberg. Finally, Adorno's 'Melancholy Science' is revealed to offer a 'sociology of illusion' that rivals both structural Marxism and phenomenological sociology as well as the subsequent work of the Frankfurt School.