This book presents a chain of argument as well as a conversation conducted in the presence of the major contributors to the "end-of-philosophy" debate: the critics of the dominantly Platonic-Cartesian-Kantian tradition and its defenders.

Marxism and the Moral Point of View attempts to say what consistent Marxists working within the parameters of the canonical conceptions of Marxism should say about morality. This includes what they should say about the function of morality in society, about the extent of moral comment they can justifiably make, and about freedom, equality, and justice, including the justice of whole social formations. Karl Marx-and most Marxists follow him-was opposed.

Since Rorty, the crisis of method and interests in philosophy has been at the forefront of metaphilosophy. In this book, Kai Nielsen, one of the most prominent critics of philosophy-as-usual, examines critically the most important claims made on behalf of philosophy. After rejecting as chimerical the ambitious claims of traditional, especially foun

Marxism and the Moral Point of View attempts to say what consistent Marxists working within the parameters of the canonical conceptions of Marxism should say about morality. This includes what they should say about the function of morality in society, about the extent of moral comment they can justifiably make, and about freedom, equality, and justice, including the justice of whole social formations. Karl Marx-and most Marxists follow him-was opposed.

This ambitious book addresses the "end-of-philosophy" debate and the challenge it presents to contemporary philosophy, both continental and analytic. It is a chain of argument as well as a conversation conducted in the presence of the major contributors to that debate: the critics (especially Richard Rorty) of the dominantly Platonic-Cartesian-Kantian tradition on the one hand and its defenders on the other. Nielsen's account draws on Wittgenstein, Quine, Davidson, Habermas, and Foucault, among others. Nielsen takes Rorty's arguments seriously and insists that they demand a rethinking of the role of philosophy in a world in which the claims of relativism, nihilism, and historicism loom increasingly larger. But, unlike most who are impressed with the end-of-philosophy argument, he provides an original and constructive response: the development of a holistic, antifoundationalist account of philosophy that utilizes a form of critical theory and wide reflective equilibrium in carving out a positive role for a new kind of philosophy. This is an important book not just for philosophers but tor social theorists, for literary critics, and indeed for scholars in any field in which the status of knowledge has become problematic.

When I first conceived of this book, I intended to write a short book and one, the great philosophical figures of the past and a few very eminent contemporaries aside, which made no reference to other philosophers and contained no quotations, footnotes and the like. I ended up doing neither. Indeed I went nearly to the exact opposite. I wrote a rather long book with, among other things, extensive discussions of my contemporaries and near contemporaries.

Along with Arthur Rackham and Edmund Dulac, Kay (pronounced "kigh") Nielsen was one of a triumvirate of great artists from the golden age of illustration. Known for his soft yet ornate pastels and a splendid use of various design elements, the Danish-American artist became famous for his memorable illustrations of stories by the Brothers Grimm and Hans Christian Andersen, as well as the Nordic fables recounted in "East o' the Sun and West o' the Moon" and the tales collected in "In Powder and Crinoline."
This enchanting compilation of 59 full-color illustrations draws upon Nielsen's images from scores of beloved tales, from the nasty characters in "Rumpelstiltskin" to the mysterious and magical figures in "The Blue Belt," "The Hardy Tin Soldier," "The Nightingale," "The Real Princess," "Hansel and Gretel," "Snowdrop," and many more.
Certain to delight fans of fairy tales, this dazzling collection will also thrill lovers of fine art, as well as Nielsen admirers.

These essays make a single central claim: that human beings can still make sense of their lives and still have a humane morality, even if their worldview is utterly secular and even if they have lost the last vestige of belief in God. "Even in a self-consciously Godless world life can be fully meaningful," Nielsen contends.

LaTeX is a text processing programming language used in the world of academics to create and share reports, books and other texts encumbered with formulae.The tool is excellent for scientific works and provides a series of advantages compared to common text processing programs.This book is a useful manual to understand and utilize the syntax of LaTeX, and it creates a shortcut for those, who want to benefit from the broad functionality in connection with their studies.Therefore the scope of this book is restricted to features typically used in higher education and is intended as a reference work based on syntax and examples.Even though the book is primarily for students pursuing a higher technical education, it is well suited for anyone who wants to familiarize themselves with LaTeX.

"East of the Sun and West of the Moon: Old Tales from the North" is a collection of Norwegian folk tales, collected by Peter Christen Asbjornsen and Jorgen Moe in the mid-nineteenth century. The haunting and compelling nature of these folk tales from the frozen lands of the North and the renowned illustrator Kay Nielsen's spellbinding illustrations therefore make this one of the most stunning and beautiful children's books ever produced. Scandinavian folk tales have had many interpretations through the years, but never have they been so beautifully depicted as in this wonderful edition by the Danish illustrator Kay Rasmus Nielsen, the master of Art Nouveau and fantasy and brought to life in this full color and unabridged edition. Nielsen was popular in the early 20th century - the "golden age of illustration" and joined the ranks of Arthur Rackham and Edmund Dulac in enjoying the success of the gift books of the early 20th century. He is also known for his collaborations with Disney, for whom he contributed many story sketches and illustrations, and especially for his work on this text, lavishing its pages with 25 intricately detailed color and numerous black-and-white images that showcase his unique and otherworldly style and complement these folk tale perfectly.

Kai Nielsen is one of Canada's most distinguished political philosophers. In a career spanning over 40 years, he has published more than 400 papers in political philosophy, ethics, meta-philosophy, and philosophy of religion. He has engaged much of the best work in Anglophone political philosophy, shedding light on many of the central debates and controversies of our time but throughout has remained a unique voice on the political left. Pessimism of the Intellect , Optimism of the Will: The Political Philosophy of Kai Nielsen presents a thoughtful collection of Nielsen's essays complemented by an extended reflective interview with Nielsen. This collection allows the reader to grasp the systematic scope of his thought and methodology.

Pook Press celebrates the great Golden Age of Illustration in children's literature. Many of the earliest children's books, particularly those dating back to the 1850s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality, colour editions, using the original text and artwork so these works can delight another generation of children. Kay Nielsen (1886-1957) was a Danish illustrator of the golden age of illustration. He was influenced by Japanese art and the Swedish fairy tale illustrator John Bauer and contributed to the Art Nouveau movement. His illustrations are bold, and vibrant - often reproduced by a 4-colour process which set him apart from his contemporaries who typically used a 3-colour process. His art is characterised by long, swooping lines, open spaces and a certain macabre quality and his ephemeral illustrations are intricately inventive, flirting with implausibility. The shift in taste from fantasy to realism after WWII meant that Nielsen did not retain his pre-war popularity. However, interest in his exquisite illustrations has since been revived, and they now command a high price in today's art world.

Pook Press celebrates the great Golden Age of Illustration in children's literature. Many of the earliest children's books, particularly those dating back to the 1850s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality, colour editions, using the original text and artwork so these works can delight another generation of children. Kay Nielsen (1886-1957) was a Danish illustrator of the golden age of illustration. He was influenced by Japanese art and the Swedish fairy tale illustrator John Bauer and contributed to the Art Nouveau movement. His illustrations are bold, and vibrant - often reproduced by a 4-colour process which set him apart from his contemporaries who typically used a 3-colour process. His art is characterised by long, swooping lines, open spaces and a certain macabre quality and his ephemeral illustrations are intricately inventive, flirting with implausibility. The shift in taste from fantasy to realism after WWII meant that Nielsen did not retain his pre-war popularity. However, interest in his exquisite illustrations has since been revived, and they now command a high price in today's art world.

Pook Press celebrates the great Golden Age of Illustration in children's literature. Many of the earliest children's books, particularly those dating back to the 1850s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality, colour editions, using the original text and artwork so these works can delight another generation of children. Kay Nielsen (1886-1957) was a Danish illustrator of the golden age of illustration. He was influenced by Japanese art and the Swedish fairy tale illustrator John Bauer and contributed to the Art Nouveau movement. His illustrations are bold, and vibrant - often reproduced by a 4-colour process which set him apart from his contemporaries who typically used a 3-colour process. His art is characterised by long, swooping lines, open spaces and a certain macabre quality and his ephemeral illustrations are intricately inventive, flirting with implausibility. The shift in taste from fantasy to realism after WWII meant that Nielsen did not retain his pre-war popularity. However, interest in his exquisite illustrations has since been revived, and they now command a high price in today's art world.

Pook Press celebrates the great Golden Age of Illustration in children's literature. Many of the earliest children's books, particularly those dating back to the 1850s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality, colour editions, using the original text and artwork so these works can delight another generation of children. Kay Nielsen (1886-1957) was a Danish illustrator of the golden age of illustration. He was influenced by Japanese art and the Swedish fairy tale illustrator John Bauer and contributed to the Art Nouveau movement. His illustrations are bold, and vibrant - often reproduced by a 4-colour process which set him apart from his contemporaries who typically used a 3-colour process. His art is characterised by long, swooping lines, open spaces and a certain macabre quality and his ephemeral illustrations are intricately inventive, flirting with implausibility. The shift in taste from fantasy to realism after WWII meant that Nielsen did not retain his pre-war popularity. However, interest in his exquisite illustrations has since been revived, and they now command a high price in today's art world.

Fifteen stories from Norwegian folklore illustrated by Kay Nielsen including: East of the Sun and West of the Moon -- The Blue Belt -- Prince Lindworm -- The Lassie and her Godmother -- The Husband who was to Mind the House -- The Lad who went to the North Wind -- The Three Princesses fo White Land -- Sorie Moria Castle -- The Giant who had no Heart in his Body -- The Princess on the Glass Hill -- The Widow's Son -- The Three Billy Goats Gruff -- The Three Princesses in the Blue Mountain -- The Cat on the Dovrefell -- One's own Children are Always Prettiest.

A collection of Hans Christian Andersen's best loved fairy tales is here illustrated with the magnificent Art Nouveau colour illustrations of Kay Nielsen. This was a project that took Nielsen 12 years to complete, and his illustrations perfectly capture the other-worldly spirit of the subject matter. Many of the earliest children's books, particularly those dating back to the 1850s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality, colour editions, using the original text and artwork so these works can delight another generation of children. About the Author: Hans Christian Andersen (1805-1875) was a Danish poet and author celebrated for his children's stories but perhaps best known for his immortal Fairy Tales meant for both adults and children and frequently written in a colloquial style to veil their sophisticated moral teachings. He broke new ground in terms of style and content by using idioms and constructions of spoken language in a way that had previously not been seen in Danish literature. His poetry and stories have been translated into over 150 languages, inspiring a wealth of films, plays and ballets. About the Illustrator: Kay Nielsen (1886-1957) was a Danish illustrator of the golden age of illustration. He was influenced by Japanese art and the Swedish fairy tale illustrator John Bauer and contributed to the Art Nouveau movement. His illustrations are bold, and vibrant - often reproduced by a 4-colour process which set him apart from his contemporaries who typically used a 3-colour process. His art is characterised by long, swooping lines, open spaces and a certain macabre quality and his ephemeral illustrations are intricately inventive, flirting with implausibility. The shift in taste from fantasy to realism after WWII meant that Nielsen did not retain his pre-war popularity. However, interest in his exquisite illustrations has since been revived, and they now command a high price in today's art world.

A collection of Hans Christian Andersen's best loved fairy tales is here illustrated with the magnificent Art Nouveau colour illustrations of Kay Nielsen. This was a project that took Nielsen 12 years to complete, and his illustrations perfectly capture the other-worldly spirit of the subject matter. Many of the earliest children's books, particularly those dating back to the 1850s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality, colour editions, using the original text and artwork so these works can delight another generation of children. About the Author: Hans Christian Andersen (1805-1875) was a Danish poet and author celebrated for his children's stories but perhaps best known for his immortal Fairy Tales meant for both adults and children and frequently written in a colloquial style to veil their sophisticated moral teachings. He broke new ground in terms of style and content by using idioms and constructions of spoken language in a way that had previously not been seen in Danish literature. His poetry and stories have been translated into over 150 languages, inspiring a wealth of films, plays and ballets. About the Illustrator: Kay Nielsen (1886-1957) was a Danish illustrator of the golden age of illustration. He was influenced by Japanese art and the Swedish fairy tale illustrator John Bauer and contributed to the Art Nouveau movement. His illustrations are bold, and vibrant - often reproduced by a 4-colour process which set him apart from his contemporaries who typically used a 3-colour process. His art is characterised by long, swooping lines, open spaces and a certain macabre quality and his ephemeral illustrations are intricately inventive, flirting with implausibility. The shift in taste from fantasy to realism after WWII meant that Nielsen did not retain his pre-war popularity. However, interest in his exquisite illustrations has since been revived, and they now command a high price in today's art world.