Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Can you spot the Big Dipper in the night sky? Or Orion's Belt? Or Cassiopeia? Even in cities, and without the aid of a telescope, these are a few of the easier constellations to find. In fact, a great deal can be seen in the night sky with the naked eye - if you know what you're looking for. Night Sky presents 200 colour photographs of stunning nocturnal vistas all visible to the naked eye. From the majesty of the Northern Lights (Aurora borealis) as seen from Norway or Canada, and the Southern Lights (Aurora australis) as seen from Australia, to seeing the clarity of the Milky Way over an Italian forest, from witnessing a lunar eclipse in Indonesia to charting the course of the International Space Station across the Indian night, and from seeing a Geminid meteor shower in New Mexico to recognizing the Great Bear (Ursa Major) constellation over New England, the book is a feast of nocturnal delights. Where necessary, additional inset photographs indicate the formation of a constellation. Presented in a landscape format and with 200 outstanding colour photographs supported by fascinating captions, Night Sky is a stunning collection of images.

'Nobody knows how to write'. Thus opens this carefully nuanced and accessible collection of essays by one of the most important writer-philosophers of the 20th century, Jean-Francois Lyotard (1924-1998). First published in French in 1991 as Lectures d'enfance, these essays have never been printed as a collection in English. In them, Lyotard investigates his idea of infantia, or the infancy of thought that resists all forms of development, either human or technological. Each essay responds to works by writers and thinkers who are central to cultural modernism, such as James Joyce, Franz Kafka, Hannah Arendt, Jean-Paul Sartre, and Sigmund Freud. This volume - with a new introduction and afterword by Robert Harvey and Kiff Bamford - contextualises Lyotard's thought and demonstrates his continued relevance today.

Travelling from the edge of our Solar System, through the Milky Way and to the outer edges of the observable universe, Deep Space is a spectacular photographic guide to galaxies, nebulae, supernova, clusters, black holes and quasars. Learn about the birth of stars in our own galaxy, planets beyond our own solar system, when they were first discovered and how we have managed to photograph these places. Ranging from the Magellanic Clouds within the Milky Way to stellar life cycles, from other spiral galaxies such as the Andromeda Galaxy, to the Sombrero Galaxy, and from nebulae such as the Pillars of Creation to black and white dwarfs, this is accessibly written for the general reader to grasp the science and magnitude of deep space. Featuring 200 outstanding colour photographs and expert captions, Deep Space is most certainly out of this world.

Sharing Common Ground makes a compelling contribution to an important emerging field that affects a broad swath of humanities. It uses historical, photographic, and literary examples, including an entirely new translation of a little known work by Marguerite Duras, presented here in full, to showcase the ethical capacity of art. Robert Harvey deploys critical tools borrowed from literature, aesthetics, and philosophy to mobilize the thought of several seminal figures in literature and theory including Michel Foucault, Marguerite Duras, Georges Didi-Huberman, and Giorgio Agamben, among a host of others. Construction sites, concentration camps, cemeteries, slums-such are only a few of the spaces that impel our imagination naturally toward what we commonly call "cultural memory." Sharing Common Ground reveals how the endeavor to think and imagine in common, and especially about the spaces we inhabit together, is critically important to human beings, artistically, culturally, and ethically.

This is a work in comparative literature and philosophy that offers a new and important way of thinking the ethical capacity of human subjectivity. "Witnessness" posits a universal ethics based neither on rational mental structures nor on moral principles, but on the extra-rational powers of the imagination. Harvey pursues this ethics by staging a speculative reading of Samuel Beckett's 'untranslatable' text, "Worstward Ho", alongside Dante's "Purgatorio" and Primo Levi's "The Drowned and the Saved" and "If This Be a Man". Many of the thirty concise chapters that compose "Witnessness" are built upon notions whose names (e.g. dimness, lessness) take inspiration from Beckett's unique and precise vocabulary. Harvey explores the particular experience of the witness - as recounted in Dante and Levi - for signs of a general, common, and innate witness-like attitude that protects the other and that we see expressed in Beckett's penultimate prose piece.

Born in a northern suburb of Saigon in 1914, Marguerite Duras became one of the most prolific and analyzed figures in 20th-century French literature and film. She earned initial fame with her novel, "Moderato Cantabile" (1958), which sold half a million copies and won the Prix de Mai. At the request of Alain Resnais, she wrote a scenario on the bombing of Hiroshima. Resnais's film, "Hiroshima, Mon Amour" (1959), became an immediate hit at Cannes, thus earning Duras further fame. But even after these achievements, little was written about her work until the early 1970s. Since then, the situation has reversed, and a tremendous number of critical and scholarly works have been written about her. This bibliography includes annotated entries for works by and about Duras and includes a brief critical biography and chronology recounting the major events in her life and career.

This volume documents the tremendous critical response to Duras's life and work. The book begins with a short critical biography that discusses some of the major events and themes in her career. A chronology then recounts her life in capsule form. The rest of the book presents annotated entries for works by and about Duras. It includes all works by Duras extant at the time of her death in March 1996, along with secondary sources published by the end of 1994. Works by Duras are grouped in chapters listing her writings, films, print interviews, and broadcast interviews. Works about Duras are grouped in chapters on books, edited collections, journals and journal articles, dissertations, reviews, magazine pieces, and critical editions. Several indexes add to the usefulness of the work.

Featuring more than 200 intriguing images taken by space probes travelling billions of kilometres from Earth, The Solar System is an exhilarating exploration of the mysteries of our local planetary space. Within the span of a human lifetime, our spacecraft have visited all eight planets of the Solar System, together with several dwarf planets, asteroids and comets. We have mapped the surface of Mercury and Venus in exquisite detail, landed rovers on Mars, placed orbiters around Jupiter and Saturn, and parachuted to the surface of Titan. Our emissaries have visited icy worlds five billion kilometres from home and continued onwards to reach interstellar space. The pictures and science returned by these intrepid travellers have transformed our understanding of the Solar System in which we live.

Abolitionist Leadership in Schools offers school and district leaders rich insights and approaches for recreating, restructuring, and reorienting their service to students, families, staff, and communities in crisis. Though often associated with sudden, large-scale disruptions, crises are ongoing matters-particularly among systemically-oppressed people-that underscore the planning voids, resource inequities, marginalizing policies, and strategic lapses of any teaching and learning community while perpetuating students' social-emotional, psychological, and pedagogical traumas. This expansive book guides school leaders to provide pre-emptive, premeditated, and progressive leadership while countering the impacts of racism that endure in our schools. Working from an abolitionist lineage, author Robert S. Harvey's radically humane vision explores lessons from our collective national past, provides strategic planning with creativities and contingencies, and fosters liberatory decision-making through accountability, communication, and more.

by the question in its being an answer, if only in a circumstantial (i. e. inessential) manner. One indeed must question oneself in order to remember, says Plato, but the dialectic, which would be scientific, must be something else even if it remains a play of question and answer. This contradiction did not escape Aristotle: he split the scientific from the dialectic and logic from argumentation whose respective theories he was led to conceive in order to clearly define their boundaries and specificities. As for Plato, he found in the famous theory of Ideas what he sought in order to justify knowledge as that which is supposed to hold its truth only from itself. What do Ideas mean within the framework of our approach? In what consists the passage from rhetoric to ontology which leads to the denaturation of argumentation? When Socrates asked, for example, "What is virtue?," he thought one could not answer such a question because the answer refers to a single proposition, a single truth, whereas the formulation of the question itself does not indicate this unicity. For any answer, another can be given and thus continuously, if necessary, until eventually one will come across an incompatibility. Now, to a question as to what X, Y, or Z is, one can answer in many ways and nothing in the question itself prohibits multiplicity. Virtue is courage, is justice, and so on.

In this, one of the last published books planned by one of the major cultural philosophers of our time, Lyotard addresses, in his powerful and allusive critical voice, Malraux's reflections on art and literature. The result, more than a sequel to Lyotard's acclaimed biography "Signe Malraux," tells us as much about Lyotard and his critical concerns as it does about Malraux. It gives us Lyotard's final thoughts on his long study of the critical, disruptive possibilities of art and of the relation between aesthetics and politics. At first glance, Lyotard's sympathetic and generous analysis of Malraux might be surprising to some, for Malraux's metaphysics of art seems far removed from, if not diametrically opposed to, Lyotard's postmodern, experimental approach. But this is perhaps the book's greatest achievement, for Lyotard succeeds both in giving a compelling critical reading of Malraux (and through him of an entire era of art criticism) and in presenting, complicating, and developing his own position on art and aesthetics.
In order to present Lyotard's exquisitely compact style in the best possible way, the original French text appears on facing pages with the English translation.

Explore and discover the most beautiful places in Wiltshire. Visit and photograph the ancient and mysterious sites of Stonehenge, Avebury and Silbury Hill; the great houses and gardens at Longleat, Bowood, Wilton, Stourhead; villages and churches; Georgian Bradford-on-Avon and the chalk White Horses and the Fovant Badges etched into the hillsides. You will enjoy photographs of the strip lynchets along the downs where sheep have grazed for centuries; the big open farmland, the Ridgeway, the chalk streams; Salisbury Plain and Salisbury Cathedral. With over 500 colour photographs, Photographing Wiltshire is the definitive visitor and photo-location guidebook to photographing this fascinating county. Introductory sections explain the story of Wiltshire's varied landscape, exceptional cultural heritage and diverse wildlife. It will appeal to Wiltshire residents, outdoor enthusiasts, photographers and anyone who loves Wiltshire and would like to understand it better.

Abolitionist Leadership in Schools offers school and district leaders rich insights and approaches for recreating, restructuring, and reorienting their service to students, families, staff, and communities in crisis. Though often associated with sudden, large-scale disruptions, crises are ongoing matters-particularly among systemically-oppressed people-that underscore the planning voids, resource inequities, marginalizing policies, and strategic lapses of any teaching and learning community while perpetuating students' social-emotional, psychological, and pedagogical traumas. This expansive book guides school leaders to provide pre-emptive, premeditated, and progressive leadership while countering the impacts of racism that endure in our schools. Working from an abolitionist lineage, author Robert S. Harvey's radically humane vision explores lessons from our collective national past, provides strategic planning with creativities and contingencies, and fosters liberatory decision-making through accountability, communication, and more.

This collection honors the career of Donald "Sandy" Petrey, Professor of Comparative Literature at the State University of New York at Stony Brook for over forty years. The diversity of essays - written by colleagues, friends, and former students, and ranging in subject from the traditional Festschrift theme of the honoree's compelling contributions to the study of realism and the novel's role in history, to chapters on Susan Sontag's experimental films, the thought of the late Marxist philosopher Andre Gorz, silence in the graphic novel, and linguistic disparities between American and Standard Italian - attests to the plasticity of Sandy Petrey's mind and the ample indications of his work. Best-known (and well-loved) for his often gruff, no-nonsense style in teaching and prose, Petrey is celebrated by those whose careers and ideas he has helped to nurture, inform, and embolden. This collection is a fine text for courses in nineteenth-century as well as contemporary French studies and literature.

by the question in its being an answer, if only in a circumstantial (i. e. inessential) manner. One indeed must question oneself in order to remember, says Plato, but the dialectic, which would be scientific, must be something else even if it remains a play of question and answer. This contradiction did not escape Aristotle: he split the scientific from the dialectic and logic from argumentation whose respective theories he was led to conceive in order to clearly define their boundaries and specificities. As for Plato, he found in the famous theory of Ideas what he sought in order to justify knowledge as that which is supposed to hold its truth only from itself. What do Ideas mean within the framework of our approach? In what consists the passage from rhetoric to ontology which leads to the denaturation of argumentation? When Socrates asked, for example, "What is virtue?," he thought one could not answer such a question because the answer refers to a single proposition, a single truth, whereas the formulation of the question itself does not indicate this unicity. For any answer, another can be given and thus continuously, if necessary, until eventually one will come across an incompatibility. Now, to a question as to what X, Y, or Z is, one can answer in many ways and nothing in the question itself prohibits multiplicity. Virtue is courage, is justice, and so on.

In this, one of the last published books planned by one of the major cultural philosophers of our time, Lyotard addresses, in his powerful and allusive critical voice, Malraux's reflections on art and literature. The result, more than a sequel to Lyotard's acclaimed biography "Signe Malraux," tells us as much about Lyotard and his critical concerns as it does about Malraux. It gives us Lyotard's final thoughts on his long study of the critical, disruptive possibilities of art and of the relation between aesthetics and politics. At first glance, Lyotard's sympathetic and generous analysis of Malraux might be surprising to some, for Malraux's metaphysics of art seems far removed from, if not diametrically opposed to, Lyotard's postmodern, experimental approach. But this is perhaps the book's greatest achievement, for Lyotard succeeds both in giving a compelling critical reading of Malraux (and through him of an entire era of art criticism) and in presenting, complicating, and developing his own position on art and aesthetics.
In order to present Lyotard's exquisitely compact style in the best possible way, the original French text appears on facing pages with the English translation.

In an age of backroom generals who command from far behind troop lines, it is often forgotten that wars have been won or lost by the personality and leadership of a maverick commander. In twelve riveting portrait, best-selling historian, Robert Harvey, explores the mind and the action of such men. From the the Mediterranean sea Harvey investigates what make a military commander different - a charismatic leader of men, rational under fire, unafraid to improvise or lead his men into victory against the odds. Packed with compelling and insightful analysis and story telling, Mavericks is Robert Harvey's best book to date. The Mavericks, what made them great and their key battles include: Clive of India - a master of the decisive strike, and going for the jugular. Plassey. James Wolfe - renowned by his troops for being as demanding on himself as on them. Quebec. George Washington - patience, then boldness. Yorktown. Horatio Nelson - flamboyance, careful planning and improvisation. Trafalgar. Thomas Cochrane - Fearless commando tactics and an eye for the unexpected strike. Aix Roads. The Duke of Wellington - style and soundbites, caution and planning. Salamanca. Guiseppe Garibaldi - charismatic communicator, bold in battle. Messina. Ulysses S. Grant - Cool and rational, with determination to overcome all obstacles. Vicksburg Erwin Rommel - Careful calculation followed by bold strikes. Desert Campaign. George Patton - Aggression coupled with skill in tanks and training.The Battle of the Bulge. Field Marshal Montgomery - A natural rebel with a lightning mind. El Alamein. Douglas MacArthur - brilliant communicator and bold, cared for his men. Inchon. PRAISE FOR WAR OF WARS 'This is the 'definitive' one-volume account of a particularly rich slab of history.' Daily Express. '...so well paced that reading it is a pleasure.' Bernard Cornwell. 'I doubt a better account of the never-ending war will be written in many a year.' Allan Mallinson. 'an exhillirating sequence of dramatic set-pieces in narrative history's best traditions.' Literary Review