Signs and symbols represent abstract ideas and concrete objects, providingn a sense of number, danger, value, distances in time and space, and even love. Over time, these marks and gestures have multiplied into an immernse and complex network of images, pictures and emblems - pictographs and logographs, maps and charts, letterforms, colours and patterns. How does a sign represent something other than itself? How do we come to understand the maning of a written symbol? What happens when a sign crosses international borders of language and culture? Can clothes constitute a sign? Can colours? Can sounds? This work takes the reader on a journey of discovery through the world of symbols.

A study of the word pair "action and reaction" embracing philosophy, semantics, literature, and science. What do biologists mean when they say that to live is to react? Why was the term abreaction invented and later abandoned by the first generation of psychoanalysts? What is meant by reactionary politics? These are but a few of the questions the internationally renowned scholar Jean Starobinski answers in his conceptual history of the word pair, action and reaction. Not simply a history of ideas, Action and Reaction is also a semantic and philological history, a literary history, a history of medicine, and a history of the biological sciences. By concentrating on the moment when scientific language and ordinary language diverge, Starobinski uncovers a genealogy of the human and natural sciences through their usage of action and reaction as metaphors. Newton's law-to every action there is an equal and opposite reaction-becomes a point of departure for an exploration of the lexical and metaphorical traces left in its wake. Starobinski analyzes the scientific, literary, and political effects of the use of the terms action and reaction to describe and explain the material universe, the living body, historical events, and psychological behavior. In what he calls a "polyphonic score"-a kind of mosaic-he uses his subject to offer new insights into the work of philosophers (Aristotle, Leibniz, Kant, Nietzsche, Jaspers), scientists (Newton, Bichat, Bernard, Bernheim, Freud), and writers (Diderot, Constant, Balzac, Poe, Valry). Ultimately, the book explores the power and danger of metaphorical language and questions the convergence and collapse of scientific and moral explanations of the universe.

Seducer, gambler, necromancer, swindler, swashbucker, poet, self-made gentleman, bon vivant, Giacomo Casanova was not only the most notorious lover of the Western world, but a supreme story teller.

An exploration of the central role of indirect modes of expression in ancient China. In what way do we benefit from speaking of things indirectly? How does such a distancing allow us better to discover-and describe-people and objects? How does distancing produce an effect? What can we gain from approaching the world obliquely? In other words, how does detour grant access? Thus begins Francois Jullien's investigation into the strategy, subtlety, and production of meaning in ancient and modern Chinese aesthetic and political texts and events. Moving between the rhetorical traditions of ancient Greece and China, Jullien does not attempt a simple comparison of the two civilizations. Instead, he uses the perspective provided by each to gain access into a culture considered by many Westerners to be strange-"It's all Chinese to me"-and whose strangeness has been eclipsed through the assumption of its familiarity. He also uses the comparison to shed light on the role of Greek thinking in Western civilization. Jullien rereads the major texts of Chinese thought-The Book of Songs, Confucius's Analects, and the work of Mencius and Lao-Tse. He addresses the question of oblique, indirect, and allusive meaning in order to explore how the techniques of detour provide access to subtler meanings than are attainable through direct approaches. Indirect speech, Jullien concludes, yields a complex mode of indication, open to multiple perspectives and variations, infinitely adaptable to particular situations and contexts. Concentrating on that which is not said, or which is spoken only through other means, Jullien traces the benefits and costs of this rhetorical strategy in which absolute truth is absent.