With three-fourths of all poor families headed by women and about 54 percent of single-mother families living below the poverty line, a rethinking of the fundamental assumptions of our much-reviled welfare program is clearly necessary. Here, Linda Gordon unearths the tangled roots of AFDC (Aid to Families with Dependent Children). Competing visions of how and to whom public aid should be distributed were advanced by male bureaucrats, black women's organizations, and white progressive feminists. From their policy debates emerged a two-track system of public aid, in which single mothers got highly stigmatized "welfare" while other groups, such as the aged and the unemployed, received "entitlements." Gordon strips today's welfare debates of decades of irrelevant and irrational accretion, revealing that what appeared progressive in the 1930s is antiquated in the 1990s. She shows that only by shedding false assumptions, and rethinking the nature of poverty, can we advance a truly effective welfare reform.

"Following the catastrophes of the twenty-first century--the pandemics, the environmental disaster, the end of oil, the ensuing chaos--people are doing whatever they can to get by and pursuing a simpler and sometimes happier existence. In little Union Grove, the townspeople are preparing for Christmas. Without the consumerist shopping frenzy that dogged the holidays of the previous age, the season has become a time to focus on family and loved ones. It is a stormy Christmas Eve when Robert Earle's son Daniel arrives back from his two years of sojourning throughout what is left of the United States. He collapses from exhaustion and illness, but as he recovers tells the story of the break-up of the nation into three uneasy independent regions and his journey into the dark heart of the New Foxfire Republic centered in Tennessee and led by the female evangelical despot, Loving Morrow. In the background, Union Grove has been shocked by the Christmas Eve double murder by a young mother, in the throes of illness, of her husband and infant son. Town magistrate Stephen Bullock is in a hanging mood"--

Israel Shahak was a remarkable man. Born in the Warsaw ghetto and a survivor of Belsen, Shahak arrived in Israel in 1945. Brought up under Jewish Orthodoxy and Hebrew culture, he consistently opposed the expansion of the borders of Israel from 1967. In this extraordinary and highly acclaimed book, Shahak embarks on a provocative study of the extent to which the secular state of Israel has been shaped by religious orthodoxies of an invidious and potentially lethal nature. Drawing on the Talmud and rabbinical laws, Shahak argues that the roots of Jewish chauvinism and religious fanaticism must be understood before it is too late. Written from a humanitarian viewpoint by a Jewish scholar, this is a rare and highly controversial criticism of Israel that will both excite and disturb readers worldwide.

Hilary Putnam deals in this book with some of the most fundamental persistent problems in philosophy: the nature of truth, knowledge and rationality. His aim is to break down the fixed categories of thought which have always appeared to define and constrain the permissible solutions to these problems.

This 547-page hardcover was published in 1968 by Praeger (1st American edition).

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

This book was ground-breaking for its time because of Freedberg's insistence on a new? approach to the study of images that focused on writing biographies of particular images which highlighted the historical and locally constructed responses, and what those responses could tell us about the psychology of the human response to images generally, rather than the more "traditional" art-historical aesthetic analysis approach. "Power of Images" is organized thematically with topics such as versimiltude, iconoclasm, and desire played out in front of the eyes of particular representative images. One of best aspects of this book is how clearly Freedberg takes seriously the notion of "presence" in images. The biggest limitation of this book is that it is almost completely bereft of information on non-pre-Enlightenment-European-Christian images. Rather than recusing himself from treating say Thai amulets, Freedberg overextends his conclusions in an unfortunately totalizing metanarrative. To be specific, I disagree with his brief rejoinder aimed at Stanley Tambiah's "Buddhist Saints of the Forest and the Cult of Amulets," and generally, I think many of Freedberg's conclusions would map poorly onto Tibetan or Japanese sacred statuary. In conclusion, I would still highly recommend this as a first-book for someone who wants to either learn about how to begin thinking about (religious) imagery and our responses to it, or someone who is looking for a wealth of short biographies and references to information on some of the most famous European Christian images.

Explains the history and tenets of mathematics including the relationship of mathematics to the other sciences.

In four elegant chapters, Robert Alter explains the prismlike radiance created by the association of three modern masters, Franz Kafka, Walter Benjamin, and Gershom Scholem. The volume pinpoints the intersections of these divergent witnesses to the modern condition of doubt, the no-man's-land between traditional religion and modern secular culture.Scholem, the devoted Zionist and master historian of Jewish mysticism, and Benjamin, the Marxist cultural critic, dedicated much of their thought and correspondence to Kafka, the explorer in fiction of radical alienation. Kafka's sense of spiritual complexities was an inspiration to both thinkers in their resistance to the murderous simplification of totalitarian ideology. In Necessary Angels Alter uncovers a moment when the future of modernism is revealed in its preoccupation with the past. The angel of the title is first Kafka's: on June 25, 1914, the writer recorded in his diary a dream vision of an angel that turned into the painted wooden figurehead of a ship. In 1940, at the end of his life, Walter Benjamin devoted the ninth of his Theses on the Philosophy of History to a meditation on an angel by the artist Paul Klee, first quoting a poem he had written on that painting. In Benjamin's vision, the figure from Klee becomes an angel of history, sucked into the future by the storm of progress, his face looking back to Eden. Benjamin bequeathed the Klee oil painting to Scholem, it hung in the living room of Scholem's home on Abarbanel Streetin Jerusalem until 1989, when his widow placed it in the Israel Museum. Alter's focus on the epiphanic force of memory on these three great modernists shows with sometimes startling, sometimes prophetic clarity that a complete break with tradition is not essential to modernism. Necessary Angels itself continues the necessary discovery of the future in the past. --

Rejects the model of competitive memory, i.e. the conception that collective memories of different groups, especially memories of victimization, confront one another in the public sphere, and eventually one group history blocks other group histories. Proposes a model of multidirectional memory, according to which various group memories interact productively and borrow from one another. In the post-World War II West, a process of coming to terms with the Nazi Holocaust of Jews went on side by side with a process of decolonization and coming to terms with Europe's and America's colonial and slavery past. In this process, the attitude that the Holocaust is unique as a historical phenomenon proved to be harmful and has been increasingly rejected. Discusses a number of artworks, literary works, and films, mainly by French artists and authors (e.g. Taslitzky, Fougeron, Césaire, Schwarz-Bart, Delbo, Rouch and Morin) as well as by some non-French ones (e.g. Arendt, W.E.B. DuBois, Caryl Phillips, Haneke), in which racism and events of the colonial past have been juxtaposed with the Holocaust.

"A rare eyewitness account by an important author of fleeing the Nazis' march on Paris in 1940, featuring a never-before-published introduction by Antoine de Saint-Exupery. In June of 1940, Leon Werth and his wife fled Paris before the advancing Nazis Army. 33 Days is his eyewitness account of that experience, one of the largest civilian dispacements in history. Encouraged to write 33 Days by his dear friend, Antoine de Saint-Exupery, author of The Little Prince, Werth finished the manuscript while in hiding in the Jura mountains. Saint-Exupery smuggled the manuscript out of Nazi-occupied France, wrote an introduction to the work and arranged for its publication in the United States by Brentanos. But the publication never came to pass, and Werth's manuscript would disappear for more than fifty years until the first French edition, in 1992. It has since become required reading in French schools. This, the first-ever English language translation of 33 Days, includes Saint-Exupery's original introduction for the book, long thought to be lost. It is presented it here for the first time in any language. After more than seventy years, 33 Days appears--complete and as it was fully intended"--

Kenneth M. Pollack, formerly a Persian Gulf military analyst at the CIA and Director for Persian Gulf Affairs at the National Security Council, describes and analyzes theømilitary history of the six key Arab states?Egypt, Iraq, Jordan, Libya, Saudi Arabia, and Syria?during the post?World War II era. He shows in detail how each Arab military grew and learned from its own experiences in response to the specific objectives set for it and within often constrained political, economic, and social circumstances. This first-ever overview of the modern Arab approach to warfare provides a better understanding of the capabilities and limitations of the Arab militaries, some of which are the United States? most likely adversaries, and some of which are our most important allies.

"NOT FUNNY is a FUNNY, whipsmart essay collection on gender, politics, the entertainment industry, and work. Jena Friedman is an acclaimed writer and performer, with multiple credits to her name in the fields of tv comedy (The Daily Show and The Late Show with David Letterman), film (an Academy Award nomination for writing on Sacha Baron Cohen's 2020 blockbuster Borat Subsequent Moviefilm), humor writing (The New Yorker), and live performance. More recently, her skill for keen social observation is seen in her acclaimed tv series Indefensible-a comedic takedown of the true-crime tv craze. With incisive cultural criticism, acerbic wit, and an interdisciplinary mind, Jena sheds light on her life as a millennial woman, treated as too smart, brash, and fearless for her own good through this collection of essays. We see her at her highest highs and lowest lows. We see her struggle to accept mistreatment in exchange for career advancement. We see her cope with "cancel culture" first-hand, as mentors she trusts are called to account for misdeeds she herself did not witness. We watch her unpack the roots of humor, and her lifelong goal to change minds through political incitement. And we see a bright-lights big-city version of a classic young women's career struggle; an immensely talented creative who refuses to soften herself for others. In her debut essay collection NOT FUNNY, Friedman fearlessly jousts with a label so often placed on women like her-perceptive, opinionated, ready to call out hypocrisy wherever she finds it, and... funny! Friedman pushes just past the edge of comfort on matters of gender, politics, decency, and class: Why do we look to celebrities to decide whether other celebrities deserve forgiveness? Why don't we ask men whether their careers might get in the way of starting a family? What does it mean to still hold admiration for a mentor you learn in hindsight to have been a predator? And what's so wrong with telling a dead baby joke? As she notes, one of the first jokes in recorded history was just that. Friedman challenges us to reconsider why we do and do not laugh, with whom we choose to empathize, and when we decide to grant attention in a world that demands we laugh to keep from crying. At once brainy, insightful, and absurd, NOT FUNNY reclaims power using the sharpest tool in bold satirist's arsenal: humor"--

The Epic of Gilgamesh is one of the world's oldest known epics-it predates Homer by several centuries and is recognized as seminal to the cultural history of the Ancient Near East. Interpretation and decipherment of the story of Gilgamesh--fragmentary and contradictory as its several variants are--has been a monumental scholarly task, spanning more than a century...until Jeffrey Tigay teased out the epic's evolution. In this volume, Tigay traces the development of the composition of The Gilgamesh Epic over nearly two millennia and through the several languages in which it has been transmitted. The result is a study both comprehensive in breadth and impressive in methodology. The author breaks from his scholarly predecessors in relying on documented textual evidence rather than on critical analysis and hypotheses.The immense contribution represented by this study has been acknowledged since its first publication in 1982. This reprint edition once again makes Tigay's groundbreaking work readily available to humanists, historians of literature and religion, biblical and classical scholars, anthropologists, and folklorists.

The gripping and elegiac stories of eight lost books, and the mysterious circumstances behind their disappearances. They exist as a rumour or a fading memory. They vanished from history leaving scarcely a trace, lost to fire, censorship, theft, war or deliberate destruction, yet those who seek them are convinced they will find them. This is the story of one man's quest for eight mysterious lost books. Taking us from Florence to Regency London, the Russian Steppe to British Columbia, Giorgio van Straten unearths stories of infamy and tragedy, glimmers of hope and bitter twists of fate. There are, among others, the rediscovered masterpiece that he read but failed to save from destruction; the Hemingway novel that vanished in a suitcase at the Gare du Lyon; the memoirs of Lord Byron, burnt to avoid a scandal; the Magnum Opus of Bruno Schulz, disappeared along with its author in wartime Poland; the mythical Sylvia Plath novel that may one day become reality. As gripping as a detective novel, as moving as an elegy, this is the tale of a love affair with the impossible, of the things that slip away from us but which, sometimes, live again in the stories we tell.

Acclaimed national security columnist and noted cultural critic Fred Kaplan looks past the 1960s to the year that really changed America While conventional accounts focus on the sixties as the era of pivotal change that swept the nation, Fred Kaplan argues that it was 1959 that ushered in the wave of tremendous cultural, political, and scientific shifts that would play out in the decades that followed. Pop culture exploded in upheaval with the rise of artists like Jasper Johns, Norman Mailer, Allen Ginsberg, and Miles Davis. Court rulings unshackled previously banned books. Political power broadened with the onset of Civil Rights laws and protests. The sexual and feminist revolutions took their first steps with the birth control pill. America entered the war in Vietnam, and a new style in superpower diplomacy took hold. The invention of the microchip and the Space Race put a new twist on the frontier myth. Vividly chronicles 1959 as a vital, overlooked year that set the world as we know it in motion, spearheading immense political, scientific, and cultural change Strong critical acclaim: "Energetic and engaging" ( Washington Post ); "Immensely enjoyable . . . a first-rate book" ( New Yorker ); "Lively and filled with often funny anecdotes" ( Publishers Weekly ) Draws fascinating parallels between the country in 1959 and today Drawing fascinating parallels between the country in 1959 and today, Kaplan offers a smart, cogent, and deeply researched take on a vital, overlooked period in American history.