Paternity and fatherhood: is there more than an etymological difference between these two apparently synonymous terms? What do we understand by "paternity" and "fatherhood?" These crucial questions lie at the heart of this collection of essays selected from the humanities and social sciences. As an anthropological document, this book offers compelling evidence to support the premise that there is a profound difference between the biological reality of paternity and the cultural construct of fatherhood. At the same time, the theories of Freud and Lacan provide a background for many of the author's critical explorations of a kaleidoscope of literary texts, legal documents, case histories, painting and letters. Through their discussion of the relations, attitudes, emotions and values generated by the paternity/fatherhood distinction, the essays in this collection broaden our understanding of how dichotomy has evolved in Western societies and offer insights into its manifestations in some post-colonial cultures.

A magisterial comparative study, Proud to Punish recenters our understanding of modern punishment through a sweeping analysis of the global phenomenon of "rough justice": the use of force to settle accounts and enforce legal and moral norms outside the formal framework of the law. While taking many forms, including vigilantism, lynch mobs, people's courts, and death squads, all seekers of rough justice thrive on the deliberate blurring of lines between law enforcers and troublemakers. Digital networks have provided a profitable arena for vigilantes, who use social media to build a following and publicize their work, as they degrade the bodies of the accused for purposes of edification and entertainment. It is this unabashed pride to punish, and the new punitive celebrations that actualize, publicize, and commercialize it, that this book brings into focus. Recounted in lively prose, Proud to Punish is both a global map of rough justice today and an insight into the deeper nature of punishment as a social and political phenomenon.

In Greek mythology the beautiful Narcissus glimpsed his own reflection in the waters of a spring and fell in love. But his was an impossible passion and, filled with despair, he pined away. Over the years the myth has inspired painters, writers, and film directors, as well as philosophers and psychoanalysts. The tragic story of Narcissus, in love with himself, and of Echo, the nymph in love with him, lies at the heart of this collection of essays exploring the origins of the myth and some of its many cultural manifestations and meanings relating to the self and the self's relationship to the other. Through their discussion of the myth and its ramifications, the contributors to this volume broaden our understanding of one of the fundamental myths of Western culture.

Lieve Spaas is Research Professor of Arts and Culture, Faculty of Arts and Social Sciences, Kingston University and has worked in social anthropology, French literature, and francophone film.

A magisterial comparative study, Proud to Punish recenters our understanding of modern punishment through a sweeping analysis of the global phenomenon of "rough justice": the use of force to settle accounts and enforce legal and moral norms outside the formal framework of the law. While taking many forms, including vigilantism, lynch mobs, people's courts, and death squads, all seekers of rough justice thrive on the deliberate blurring of lines between law enforcers and troublemakers. Digital networks have provided a profitable arena for vigilantes, who use social media to build a following and publicize their work, as they degrade the bodies of the accused for purposes of edification and entertainment. It is this unabashed pride to punish, and the new punitive celebrations that actualize, publicize, and commercialize it, that this book brings into focus. Recounted in lively prose, Proud to Punish is both a global map of rough justice today and an insight into the deeper nature of punishment as a social and political phenomenon.

In Greek mythology the beautiful Narcissus glimpsed his own reflection in the waters of a spring and fell in love. But his was an impossible passion and, filled with despair, he pined away. Over the years the myth has inspired painters, writers, and film directors, as well as philosophers and psychoanalysts. The tragic story of Narcissus, in love with himself, and of Echo, the nymph in love with him, lies at the heart of this collection of essays exploring the origins of the myth and some of its many cultural manifestations and meanings relating to the self and the self's relationship to the other. Through their discussion of the myth and its ramifications, the contributors to this volume broaden our understanding of one of the fundamental myths of Western culture.

What kind of connotation does the word 'father' have in everyday language? How have states and governments defined and manipulated the paternal role? What is a 'father-figure'? What can literature tell us about absent or overbearing fathers? How far is the cultural construct of fatherhood linked to biological paternity, and what is biological paternity? These are some of the questions explored through the chapters in this book, which together offer a fascinatingly complex view of fatherhood across the centuries.

Massin (b. 1925) emerged as one of the key players instrumental in the evolution of graphic arts following World War II. His work in the field is a model of creativity infused with elegance and humour, and has covered editorial design, graphics, poster and logo design; art direction, typography and photography; and publishing, design education and writing. Throughout his career, Massin has developed a diverse and forward-thinking body of work with some of the most prestigious cultural institutions and the post-war literary world. During his 20 years working with the pre-eminent, French publisher, Gallimard, he established and developed their art direction department, launched the Folio series - a popular collection of pocket books - and redesigned the famous logo for the Nouvelle Revue Francaise (New French Review literary publication).Massin is a book sculptor, and has worked on a freelance basis with an extensive range of other renowned publishers, including Hoebeke, Le Club Francais du Livre, Albin Michel, Plon, Le Seuil and Larousse. Collaborating with famous playwrights and writers such as Eugene Ionesco and Raymond Queneau, Massin explored the realm of 'expressive typography', making the text more energetic and exciting with the interplay of words and images. His concepts for Cantatrice Chauve, by Eugene Ionesco (1964 - in English The Bald Soprano, 1965 for the US edition, and The Bald Prima Donna, 1966 for the UK edition) and Exercices de Style, by Raymond Queneau, stand as masterpieces in book design and are commonly used by professors in graphic design classes to illustrate a unique adventure in the history of typography.Before the broken type associated with the design group, Pentagram emerged in the field of graphic arts, Massin was experimenting with letters, fonts and images, producing creative three-dimensional limited-edition covers and a series of imaginative book bindings. He also educated the public with his own publications on the techniques of typography with projects such as L'ABC du Metier and la Mise en Pages. His famous book La lettre de l'image (in English Letter and Image) is a unique anthology of illustrated and expressive letter forms. It was first published in 1970 in five languages, and has been in print ever since.

Spectralities in the Renaissance explores the history of the idea of ghosts in early modern Europe, moving away from thinking of them as a purely religious phenomenon, but as something rooted in cultural traditions, particularly in times of violence, where the living and the dead were in close proximity. Callard focuses on ancien regime France, to explore how the notion of ghosts and the supernatural played a part in France's early modern past, in such disparate areas as politics, law, natural philosophy, and the cultural and emotional history of everyday life.

In this personal portrait of Edward Said written by a close friend, Dominique Edde offers a fascinating and fresh presentation of his oeuvre from his earliest writings on Joseph Conrad to his most famous texts, Orientalism and Culture and Imperialism. Edde weaves together accounts of the genesis and content of Said's work, his intellectual development, and her own reflections and personal recollections of their friendship, which began in 1979 and lasted until Said's death in 2003. Throughout, she traces the connection between personal history and theoretical options, illuminating the evolution of Said's thought. Both specialists of Said's work and newcomers will find much to learn in this rich portrait of one of the twentieth century's most important intellectuals.

"To be a philosopher and to be a feminist are one and the same thing. A feminist is a woman who does not allow anyone to think in her place."-from "Hipparchia's Choice"

A work of rare insight and irreverence, "Hipparchia's Choice" boldly recasts the history of philosophy from the pre-Socratics to the post-Derrideans as one of masculine texts and male problems. The position of women, therefore, is less the result of a hypothetical "femininity" and more the fault of exclusion by men. Nevertheless, women have been and continue to be drawn to "the exercise of thought." So how does a female philosopher become a conceptually adventurous woman? Focusing on the work of Sartre and Beauvoir (specifically, his sexism and her relation to it), Mich?le Le Doeuff shows how women philosophers can reclaim a place for feminist concerns. Is "The Second Sex" a work of philosophy, and, if so, what can it teach us about the relation of philosophy to experience? Now with a new epilogue, "Hipparchia's Choice" points the way toward a discipline that is accountable to history, feminism, and society.

"To be a philosopher and to be a feminist are one and the same thing. A feminist is a woman who does not allow anyone to think in her place."-from "Hipparchia's Choice"

A work of rare insight and irreverence, "Hipparchia's Choice" boldly recasts the history of philosophy from the pre-Socratics to the post-Derrideans as one of masculine texts and male problems. The position of women, therefore, is less the result of a hypothetical "femininity" and more the fault of exclusion by men. Nevertheless, women have been and continue to be drawn to "the exercise of thought." So how does a female philosopher become a conceptually adventurous woman? Focusing on the work of Sartre and Beauvoir (specifically, his sexism and her relation to it), Mich?le Le Doeuff shows how women philosophers can reclaim a place for feminist concerns. Is "The Second Sex" a work of philosophy, and, if so, what can it teach us about the relation of philosophy to experience? Now with a new epilogue, "Hipparchia's Choice" points the way toward a discipline that is accountable to history, feminism, and society.

From the bestselling author of Mindfulness: 25 Ways to Live in the Moment through Art, comes a new, beautifully illustrated guide to happiness. Drawing upon paintings as a means of inspiration and solace, Andre teaches us what it means to be happy and how to recognise joy in our lives. From the birth of happiness in youth, to the return of happiness after a period of pain and solitude, Andre takes us on a journey to uncover the pathway to leading a happy and fulfilled life.

In 1961, the prolific French intellectual Jean-Paul Sartre was invited to give a talk at the Gramsci Institute in Rome. In attendance were some of Italy's leading Marxist thinkers, such as Enzo Paci, Cesare Luporini, and Galvano Della Volpe, whose contributions to the long and remarkable discussion that followed are collected in this volume, along with the lecture itself. Sartre posed the question "What is subjectivity?" - a question of renewed importance today to contemporary debates concerning "the subject" in critical theory. This work includes a preface by Michel Kail and Raoul Kirchmayr and an afterword by Fredric Jameson, who makes a rousing case for the continued importance of Sartre's philosophy.