Hannah Arendt and the History of Thought, edited by Daniel Brennan and Marguerite La Caze, enrichens and deepens scholarship on Arendt's relation to philosophical history and traditions. Some contributors analyze thinkers not often linked to Arendt, such as William Shakespeare, Hans Jonas, and Simone de Beauvoir. Other contributors treat themes that are pressing and crucial to understanding Arendt's work, such as love in its many forms, ethnicity and race, disability, human rights, politics, and statelessness. The collection is anchored by chapters on Arendt's interpretation of Kant and her relation to early German Romanticism and phenomenology, while other chapters explore new perspectives, such as Arendt and film, her philosophical connections with other women thinkers, and her influence on Eastern European thought and activism. The collection expands the frames of reference for research on Arendt-both in terms of using a broader range of texts like her Denktagebuch and in examining her ideas about judgment, feminism, and worldliness in this wider context.

As they oscillate and flow between action and aesthetics, habit and creativity, rhythms are vital to our understanding of how subjectivities are constructed upon the shifting borderlines between life and art. Yet whilst rhythm remains an established concept in studies of French poetry, this is the first major overview to address the centrality of rhythm in fields such as literature, philosophy, dance and film, and to link these debates across periods and disciplines within French Studies. Drawing on thinkers such as Deleuze and Guattari, Kristeva, Lefebvre, Meschonnic, and Virilio, the authors explore the concept of rhythms in relation to questions of temporality and the everyday, technology and the city, poetry and autobiography, space and the body in performance. In a wide-ranging series of innovative, theoretical and close readings, they examine issues which include the poetics of Mallarme and Bonnefoy, the writings of Ernaux, Perec, Reda and Zobel, the choreography of Merce Cunningham and the cinema of Chris Marker.

Focusing on a recent wave of international art cinema, Animal Worlds offers the first sustained analysis of the relations between cinematic time and animal life. Through an aesthetic of extended duration, films such as Bestiaire (2010), The Turin Horse (2011) and A Cow's Life (2012) attend to animal worlds of sentience and perception, while registering the governing of life through biopolitical regimes. Bringing together Gilles Deleuze's writings on cinema and on animals - while drawing on Jacques Derrida, Jean-Christophe Bailly, Nicole Shukin and others - the book argues that these films question the biopolitical reduction of animal life to forms of capital, opening up realms of virtuality, becoming and alternative political futures.

Focusing on a recent wave of international art cinema, Animal Worlds offers the first sustained analysis of the relations between cinematic time and animal life. Through an aesthetic of extended duration, films such as Bestiaire (2010), The Turin Horse (2011) and A Cow's Life (2012) attend to animal worlds of sentience and perception, while registering the governing of life through biopolitical regimes. Bringing together Gilles Deleuze's writings on cinema and on animals - while drawing on Jacques Derrida, Jean-Christophe Bailly, Nicole Shukin and others - the book argues that these films question the biopolitical reduction of animal life to forms of capital, opening up realms of virtuality, becoming and alternative political futures.