Recently the CXCR4/CXCL12-axis has been recognized as one of the pivotal adhesion pathways by which hematopoietic stem cells are retained in the bone marrow. CXCR4 antagonists with different chemical specification are being developed. Pharmacology research guides the way to the rational development effective antagonists. One antagonist, plerixafor, is clinically approved now for stem cell mobilization of lymphoma and myeloma patients. This allows patients to receive potentially life-saving treatment which could not have been administered otherwise. Through early clinical studies it was recognized that CXCR4 antagonists also mobilize malignant hematopoetic cells, i.e. leukemia cells. In preclinical studies a sensitization of mobilized leukemic cells to standard cytotoxic chemotherapy could be shown. Clinical studies are under way. CXCR4 antagonists are an exciting new class of compounds which are also employed for the mobilization of angiogenic cells or for the treatment of solid tumors. In this book a concise review of the current status of knowledge and future developments will be presented.

The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers--among them Anni and Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes Itten, Vasily Kandinsky, Paul Klee, Laszlo Moholy-Nagy, Lilly Reich, Oskar Schlemmer, Gunta Stolzl--in an extraordinary conversation on the nature of art in the industrial age. Aiming to rethink the form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped the world today. "Bauhaus 1919-1933: Workshops for Modernity," published to accompany a major multimedia exhibition, is The Museum of Modern Art's first comprehensive treatment of the subject since its famous Bauhaus exhibition of 1938, and offers a new generational perspective on the twentieth century's most influential experiment in artistic education. Organized in collaboration with the three major Bauhaus collections in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau and the Klassic Stiftung Weimar), "Bauhaus 1919-1933" examines the extraordinarily broad spectrum of the school's products, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting and sculpture. Many of the objects discussed and illustrated here have rarely if ever been seen or published outside Germany. Featuring approximately 400 color plates, richly complemented by documentary images, "Bauhaus 1919-1933" includes two overarching essays by the exhibition's curators, Barry Bergdoll and Leah Dickerman, that present new perspectives on the Bauhaus. Shorter essays by more than 20 leading scholars apply contemporary viewpoints to 30 key Bauhaus objects, and an illustrated narrative chronology provides a dynamic glimpse of the Bauhaus' lived history.

Through a unique dataset covering half a century of policy-making in Britain, this book traces how topics like the economy, international affairs, and crime have changed in their importance to government. The data concerns key venues of decision-making - the Queen's Speech, laws and budgets - which are compared to the media and public opinion. These trends are conveyed through accessible figures backed up by a series of examples of important policies. As a result, the book throws new light on the key points of change in British politics, such as Thatcherism and New Labour and explores different approaches to agenda setting helping to account for these changes: incrementalism, the issue attention cycle and the punctuated equilibrium model. What results is the development of a new approach to agenda setting labelled focused adaptation whereby policy-makers respond to structural shifts in the underlying pattern of attention.

This book offers a close reading of Romans that treats Paul as a radical political thinker by showing the relationship between Paul's perspective and that of secular political theorists. Turning to both ancient political philosophers (Plato, Aristotle, and Cicero) and contemporary post-Marxists (Agamben, Badiou, Derrida, and Zižek), Jennings presents Romans as a sustained argument for a new sort of political thinking concerned with the possibility and constitution of just socialities.
Reading Romans as an essay on messianic politics in conversation with ancient and postmodern political theory challenges the stereotype of Paul as a reactionary theologian who "invented" Christianity and demonstrates his importance for all, regardless of religious affiliation or academic guild, who dream and work for a society based on respect, rather than domination, division, and death. In the current context of unjust global empires constituted by avarice, arrogance, and violence, Jennings finds in Paul a stunning vision for creating just societies outside the law.

This book offers a close reading of Romans that treats Paul as a radical political thinker by showing the relationship between Paul's perspective and that of secular political theorists. Turning to both ancient political philosophers (Plato, Aristotle, and Cicero) and contemporary post-Marxists (Agamben, Badiou, Derrida, and centsiYek), Jennings presents Romans as a sustained argument for a new sort of political thinking concerned with the possibility and constitution of just socialities.
Reading Romans as an essay on messianic politics in conversation with ancient and postmodern political theory challenges the stereotype of Paul as a reactionary theologian who invented Christianity and demonstrates his importance for all, regardless of religious affiliation or academic guild, who dream and work for a society based on respect, rather than domination, division, and death. In the current context of unjust global empires constituted by avarice, arrogance, and violence, Jennings finds in Paul a stunning vision for creating just societies outside the law.

In the frenzied final years of the Weimar Republic, amid economic collapse and mounting political catastrophe, Walter Benjamin emerged as the most original practicing literary critic and public intellectual in the German-speaking world. Volume 2 of the "Selected Writings" is now available in paperback in two parts.

In Part 1, Benjamin is represented by two of his greatest literary essays, "Surrealism" and "On the Image of Proust," as well as by a long article on Goethe and a generous selection of his wide-ranging commentary for Weimar Germany's newspapers.

Part 2 contains, in addition to the important longer essays, "Franz Kafka," "Karl Kraus," and "The Author as Producer," the extended autobiographical meditation "A Berlin Chronicle," and extended discussions of the history of photography and the social situation of the French writer, previously untranslated shorter pieces on such subjects as language and memory, theological criticism and literary history, astrology and the newspaper, and on such influential figures as Paul Valery, Stefan George, Hitler, and Mickey Mouse.

Recently the CXCR4/CXCL12-axis has been recognized as one of the pivotal adhesion pathways by which hematopoietic stem cells are retained in the bone marrow. CXCR4 antagonists with different chemical specification are being developed. Pharmacology research guides the way to the rational development effective antagonists. One antagonist, plerixafor, is clinically approved now for stem cell mobilization of lymphoma and myeloma patients. This allows patients to receive potentially life-saving treatment which could not have been administered otherwise. Through early clinical studies it was recognized that CXCR4 antagonists also mobilize malignant hematopoetic cells, i.e. leukemia cells. In preclinical studies a sensitization of mobilized leukemic cells to standard cytotoxic chemotherapy could be shown. Clinical studies are under way. CXCR4 antagonists are an exciting new class of compounds which are also employed for the mobilization of angiogenic cells or for the treatment of solid tumors. In this book a concise review of the current status of knowledge and future developments will be presented.

In the frenzied final years of the Weimar Republic, amid economic collapse and mounting political catastrophe, Walter Benjamin emerged as the most original practicing literary critic and public intellectual in the German-speaking world. Volume 2 of the "Selected Writings" is now available in paperback in two parts.

In Part 1, Benjamin is represented by two of his greatest literary essays, "Surrealism" and "On the Image of Proust," as well as by a long article on Goethe and a generous selection of his wide-ranging commentary for Weimar Germany's newspapers.

Part 2 contains, in addition to the important longer essays, "Franz Kafka," "Karl Kraus," and "The Author as Producer," the extended autobiographical meditation "A Berlin Chronicle," and extended discussions of the history of photography and the social situation of the French writer, previously untranslated shorter pieces on such subjects as language and memory, theological criticism and literary history, astrology and the newspaper, and on such influential figures as Paul Valery, Stefan George, Hitler, and Mickey Mouse.

Benjamin's famous "Work of Art" essay sets out his boldest thoughts--on media and on culture in general--in their most realized form, while retaining an edge that gets under the skin of everyone who reads it. In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought.

This essay, however, is only the beginning of a vast collection of writings that the editors have assembled to demonstrate what was revolutionary about Benjamin's explorations on media. Long before Marshall McLuhan, Benjamin saw that the way a bullet rips into its victim is exactly the way a movie or pop song lodges in the soul.

This book contains the second, and most daring, of the four versions of the "Work of Art" essay--the one that addresses the utopian developments of the modern media. The collection tracks Benjamin's observations on the media as they are revealed in essays on the production and reception of art; on film, radio, and photography; and on the modern transformations of literature and painting. The volume contains some of Benjamin's best-known work alongside fascinating, little-known essays--some appearing for the first time in English. In the context of his passionate engagement with questions of aesthetics, the scope of Benjamin's media theory can be fully appreciated.

"This remarkably fine book is timely and provocative. It is also one of a kind: a book that advances detailed exegesis of the New Testament, above all Paul's Letter to the Romans, by drawing deeply on Derrida's reflections concerned with justice and law, gift or grace, debt, duty, love, hospitality, and forgiveness."--Peggy Kamuf, University of Southern California
"Reading Derrida/Thinking Paul: On Justice yields new insights into the ethical and political stakes of Derrida's writings. Jennings shows Derrida and Paul to share a passion for justice and for thinking through the aporias justice's pursuit entails. Jennings' chapters skillfully juxtapose Paul and Derrida on law, violence, gift, faith, hospitality, and pardon. A book-length study of Derrida in relation to Paul is long overdue, and, after reading Jennings' text, reconsidering Derrida's and Paul's implications for contemporary dilemmas of justice becomes a must."--Robert S. Oventile, Pasadena City College

Walter Benjamin's essays on the great French lyric poet Charles Baudelaire revolutionized not just the way we think about Baudelaire, but our understanding of modernity and modernism as well. In these essays, Benjamin challenges the image of Baudelaire as late-Romantic dreamer, and evokes instead the modern poet caught in a life-or-death struggle with the forces of the urban commodity capitalism that had emerged in Paris around 1850. The Baudelaire who steps forth from these pages is the flaneur who affixes images as he strolls through mercantile Paris, the ragpicker who collects urban detritus only to turn it into poetry, the modern hero willing to be marked by modern life in its contradictions and paradoxes. He is in every instance the modern artist forced to commodify his literary production: "Baudelaire knew how it stood with the poet: as a flaneur he went to the market; to look it over, as he thought, but in reality to find a buyer." Benjamin reveals Baudelaire as a social poet of the very first rank.

The introduction to this volume presents each of Benjamin's essays on Baudelaire in chronological order. The introduction, intended for an undergraduate audience, aims to articulate and analyze the major motifs and problems in these essays, and to reveal the relationship between the essays and Benjamin's other central statements on literature, its criticism, and its relation to the society that produces it.

"Every line we succeed in publishing today...is a victory wrested from the powers of darkness." So wrote Walter Benjamin in January 1940. Not long afterward, he himself would fall prey to those powers, a victim of suicide following a failed attempt to flee the Nazis. However insistently the idea of catastrophe hangs over Benjamin's writings in the final years of his life, the "victories wrested" in this period nonetheless constitute some of the most remarkable twentieth-century analyses of the emergence of modern society. The essays on Charles Baudelaire are the distillation of a lifetime of thinking about the nature of modernity. They record the crisis of meaning experienced by a civilization sliding into the abyss, even as they testify to Benjamin's own faith in the written word.

This volume ranges from studies of Baudelaire, Brecht, and the historian Carl Jochmann to appraisals of photography, film, and poetry. At their core is the question of how art can survive and thrive in a tumultuous time. Here we see Benjamin laying out an ethic for the critic and artist--a subdued but resilient heroism. At the same time, he was setting forth a sociohistorical account of how art adapts in an age of violence and repression.

Working at the height of his powers to the very end, Benjamin refined his theory of the mass media that culminated in the final version of his essay "The Work of Art in the Age of Its Technological Reproducibility." Also included in this volume is his influential piece "On the Concept of History," completed just before his death. The book is remarkable for its inquiry into the nature of "the modern" (especially as revealed in Baudelaire), for its ideas about thetransmogrification of art and the radical discontinuities of history, and for its examples of humane life and thought in the midst of barbarism. The entire collection is eloquent testimony to the indomitable spirit of humanity under siege.

One-Way Street is a thoroughfare unlike anything else in literature-by turns exhilarating and bewildering, requiring mental agility and a special kind of urban literacy. Presented here in a new edition with expanded notes, this genre-defying meditation on the semiotics of late-1920s Weimar culture offers a fresh opportunity to encounter Walter Benjamin at his most virtuosic and experimental, writing in a vein that anticipates later masterpieces such as "On the Concept of History" and The Arcades Project. Composed of sixty short prose pieces that vary wildly in style and theme, One-Way Street evokes a dense cityscape of shops, cafes, and apartments, alive with the hubbub of social interactions and papered over with public inscriptions of all kinds: advertisements, signs, posters, slogans. Benjamin avoids all semblance of linear narrative, enticing readers with a seemingly random sequence of aphorisms, reminiscences, jokes, off-the-cuff observations, dreamlike fantasias, serious philosophical inquiries, apparently unserious philosophical parodies, and trenchant political commentaries. Providing remarkable insight into the occluded meanings of everyday things, Benjamin time and again proves himself the unrivalled interpreter of what he called "the soul of the commodity." Despite the diversity of its individual sections, Benjamin's text is far from formless. Drawing on the avant-garde aesthetics of Dada, Constructivism, and Surrealism, its unusual construction implies a practice of reading that cannot be reduced to simple formulas. Still refractory, still radical, One-Way Street is a work in perpetual progress.

"This remarkably fine book is timely and provocative. It is also one of a kind: a book that advances detailed exegesis of the New Testament, above all Paul's Letter to the Romans, by drawing deeply on Derrida's reflections concerned with justice and law, gift or grace, debt, duty, love, hospitality, and forgiveness."--Peggy Kamuf, University of Southern California
"Reading Derrida/Thinking Paul: On Justice yields new insights into the ethical and political stakes of Derrida's writings. Jennings shows Derrida and Paul to share a passion for justice and for thinking through the aporias justice's pursuit entails. Jennings' chapters skillfully juxtapose Paul and Derrida on law, violence, gift, faith, hospitality, and pardon. A book-length study of Derrida in relation to Paul is long overdue, and, after reading Jennings' text, reconsidering Derrida's and Paul's implications for contemporary dilemmas of justice becomes a must."--Robert S. Oventile, Pasadena City College

When a wounded wild rabbit is found in the front yard, he is given a good home and a memorable name by a twelve-year-old with a liking for basketball, the trombone, and the newspaper's daily horoscope. But Orwell is no ordinary rabbit. It soon seems that he is attempting to reward his young caretaker by mysteriously sending coded messages in the form of predictions: the final score of the Super Bowl, advance notice of a pop quiz at school, tomorrow's winning lottery number! Can this little rabbit foretell the future? Can Orwell actually make luck happen? Here is a magical and heartwarming story about kindness, friendship, and hope in the shadow of fortune's ever-turning wheel.

The very suggestion that there may be homoeroticism in Hebrew narrative may seem odd given the supposition that the religion and culture of ancient Israel resolutely opposed same sex erotic relationships. The apparent prohibition of homosexuality in Leviticus and the story of Sodom from Genesis have been made to speak for the whole Hebrew Bible. The oddity of this situation has not been lost on some interpreters who have recognized that the story of Sodom tells us no more about attitudes toward what we call homosexuality than the story of the rape of Dina tells us about attitudes toward heterosexuality. Prof. Jennings says that the well-known eroticism of the Hebrew Bible is not confined to heterosexuality but also includes an astonishing diversity of material that lends itself to homoerotic interpretation. In Part one, Jennings examines saga materials associated with David. It is no innovation to detect in the David and JonathanGCOs relationship at least the outline of a remarkable love story between two men. What becomes clear, however, is that the tale is far more complex than this since it involves Saul and is set within a context of a warrior society that takes for granted that male heroes will be accompanied by younger or lower status males.

This provocative volume illuminates a dimension of John Wesley's theology that has received insufficient attention: his deep and abiding commitment to the poor. By focusing on the radical nature of Wesley's "evangelical economics," Theodore W. Jennings, Jr., provides an important corrective to the view that Wesley was concerned with the salvation of souls only, and not also with the social conditions of human beings.