Georg Lukacs (1885-1971) was one of the most original Marxist philosophers and literary critics of the twentieth century. His work was a major influence on what we now know as critical theory. Almost fifty years after his death, Lukacs's legacy has come under attack by right-wing extremists in his native Hungary. Despite efforts to erase his memory, Lukacs remains a philosophical gadfly. In Confronting Reification, an international team of fourteen scholars explicate, reassess, and apply one of Lukacs's most significant philosophical contributions, his theory of reification. Based on papers presented at the 2017 Legacy of Georg Lukacs conference held in Budapest, the essays in this volume demonstrate the vitality of Lukacs's thought and its relevance. Contributors include: Rudiger Dannemann, Frank Engster, Andrew Feenberg, Joseph Grim Feinberg, Andraz Jez, Christian Lotz, Csaba Olay, Tom Rockmore, Gregory R. Smulewicz-Zucker, Mariana Teixeira, Michael J. Thompson, Tivadar Vervoort, Richard Westerman, and Sean Winkler.

Strangers to Nature challenges a reading public that has grown complacent with the standard framework of the animal ethics debate. Human influence on, and the control of, the natural world has greater consequences than ever, making the human impact on the lives of animals more evident. We cannot properly interrogate our conduct in the world without a deeper understanding of how our actions affect animals. It is crucial that the human-animal relationship become more central to ethical inquiry. This volume brings together many of the leading scholars who work to redefine and expand the discourse on animal ethics. The contributors examine the radical developments that change how we think about the status of non-human animals in our society and our moral obligations. Strangers to Nature will engage both scholars and lay-people by revealing the breadth of theorizing about current human/non-human animal relationships.

Strangers to Nature challenges a reading public that has grown complacent with the standard framework of the animal ethics debate. Human influence on, and the control of, the natural world has greater consequences than ever, making the human impact on the lives of animals more evident. We cannot properly interrogate our conduct in the world without a deeper understanding of how our actions affect animals. It is crucial that the human-animal relationship become more central to ethical inquiry. This volume brings together many of the leading scholars who work to redefine and expand the discourse on animal ethics. The contributors examine the radical developments that change how we think about the status of non-human animals in our society and our moral obligations. Strangers to Nature will engage both scholars and lay-people by revealing the breadth of theorizing about current human/non-human animal relationships.

A refugee from post-World War II Europe who emigrated to the US in 1949, Jonas Mekas (1922-2019) became one of America's foremost champions of independent cinema and one of its most innovative filmmakers. An admired poet in his native Lithuania, Mekas began recording his life on film shortly after his arrival in New York. Through his work as the author of the Village Voice's "Movie Journal" column, editor of Film Culture magazine, and founder of Anthology Film Archives and the Film-Makers' Cooperative, Mekas played a vital role in the promotion of avant-garde and independent films. His early films, Guns of the Trees and The Brig, challenged the structure of traditional narrative filmmaking. He is best known for his "diary films," including Walden (Diaries, Notes, and Sketches); Reminiscences of a Journey to Lithuania; and As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty. His films, writings, and the institutions he built have influenced generations of filmmakers, poets, artists, musicians, critics, and scholars. In Jonas Mekas: Interviews, volume editor Gregory R. Smulewicz-Zucker collects eighteen interviews covering almost sixty years of the filmmaker's career. Mekas discusses his remarkable life as a refugee from Nazi- and Soviet-occupied Lithuania, his role as one of the major figures in the development of the American avant-garde, and his thoughts about his own work. In conversation with scholars, journalists, and other prominent artists, Mekas speaks of his passion for artistic expression and uncompromising vision for a liberated cinema. These interviews preserve Mekas's voice so that it might speak to future generations of artists and intellectuals.

A refugee from post-World War II Europe who emigrated to the US in 1949, Jonas Mekas (1922-2019) became one of America's foremost champions of independent cinema and one of its most innovative filmmakers. An admired poet in his native Lithuania, Mekas began recording his life on film shortly after his arrival in New York. Through his work as the author of the Village Voice's "Movie Journal" column, editor of Film Culture magazine, and founder of Anthology Film Archives and the Film-Makers' Cooperative, Mekas played a vital role in the promotion of avant-garde and independent films. His early films, Guns of the Trees and The Brig, challenged the structure of traditional narrative filmmaking. He is best known for his "diary films," including Walden (Diaries, Notes, and Sketches); Reminiscences of a Journey to Lithuania; and As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty. His films, writings, and the institutions he built have influenced generations of filmmakers, poets, artists, musicians, critics, and scholars. In Jonas Mekas: Interviews, volume editor Gregory R. Smulewicz-Zucker collects eighteen interviews covering almost sixty years of the filmmaker's career. Mekas discusses his remarkable life as a refugee from Nazi- and Soviet-occupied Lithuania, his role as one of the major figures in the development of the American avant-garde, and his thoughts about his own work. In conversation with scholars, journalists, and other prominent artists, Mekas speaks of his passion for artistic expression and uncompromising vision for a liberated cinema. These interviews preserve Mekas's voice so that it might speak to future generations of artists and intellectuals.