, xi, 312 pages with colour frontispiece, black and white illustratuons throughout

What are the ethical responsibilities of the historian in an age of mass murder and hyperreality? Can one be postmodern and still write history? For whom should history be written? Edith Wyschogrod animates such questions through the passionate figure of the "heterological historian." Realizing the philosophical impossibility of ever recovering "what really happened," this historian nevertheless acknowledges a moral imperative to speak for those who have been rendered voiceless, to give countenance to those who have become faceless, and hope to the desolate. Wyschogrod also weighs the impact of modern archival methods, such as photographs, film, and the Internet, which bring with them new constraints on the writing of history and which mandate a new vision of community. Drawing on the works of continental philosophers, historiographers, cognitive scientists, and filmmakers, Wyschogrod creates a powerful new framework for the understanding of history and the ethical duties of the historian.

The Ethical is a collection of readings on ethics and the nature of morality by some of the most important contemporary philosophers in the continental tradition. Presents penetrating discussions of the ethical as it is treated in Continental philosophy. Provides the foundation for further study of the continental treatment of ethical issues. Includes newly commissioned essays by prominent philosophers. Offers comparison between Continental and Anglo-American ethics.

Poems make use of aphorisms, meditation, narrative, and questions to consider the nature of God, silence, death, and human relationships

First published in 1948 by Harper and Brothers and here reprinted with both the introduction to the 1978 Liveright edition and a new introduction by M.L. Iscove, this classic, popular psychoanalytic study of marriage and divorce considers why certain people--those suffering from neurosis--seek divorce, what it is they expect divorce to do for them, and why divorce cannot provide what they are asking of it. Annotation copyrighted by Book News, Inc., Portland, OR

Le 27 avril 1938, Edmund HUSSERL, l'initiateur et principal representant du courant phenomenologique dans la philosophie contemporaine, mourut a Fribourg en Brisgau, age de pres de quatre-vingts ans. Depuis la parution de ses Logische Untersuchungen en 190~ 1901, le monde philosophique international avait suivi, avec UD interet toujours croissant, les exposes successifs et de plus en plus approfondis, que le maUre fribourgeois publiait sur les prin~ cipes de sa methode, dite pMnomenologique, sur les applications concretes de celle-ci aux problemes philosophiques les plus divers, ainsi que sur la phenomenologie comme systeme philo­ sophique autonome et pour ainsi dire "autarchique". Ces publi­ cations, relativement peu nombreuses, mais fort remarquees des leur parution, furent etudiees avec le plus grand soin par les representants les plus autorises des differents courants de la pensee contemporaine. Les critiques, il va sans dire, ne manquerent point. On attira l'attention sur le caractere plutöt programmatique de ces etudes, sur la terminologie fort neuve, quelque peu arbitraire, parfois meme deroutante, dont se servait l'auteur, sur son pen­ chant prononce pour des distinctions subtiles et pour des defini­ tions minutieuses a l'exces, sur la difficulte de son style et les complications parfois inutiles de son expose, enfin et surtout -­ au moins depuis 1913 - sur le caractere audacieux de sa theorie de la reduction, presentee par lui avec une insistance toute par­ ticuliere comme le fondement dernier et indispensable de toute phenomenologie presente ou future.

Hardback, ex-library, with usual stamps and markings, in good all round condition. Dust jacket in fair condition.

Shortlisted for the prestigious Sapir Prize, winner of UNSECO's international competition for Short Stories from the Mediterranean, Amstel is a haunting collection of stories about family, love and longing. These captivating tales take conventional life and tilt it sideways, delivering a memorable blend of the real and the surreal: A mother invites her reluctant son for cocktails and Amstel beer, then drunkenly reveals a part of her life that would have better remained hidden; a lonely man invites a battered young mother and her son into his empty home and a new hope is born in him; a pregnant woman in Jerusalem and her Palestinian cleaning lady draw closer until the Intifada tests their comradeship; a crazy Moroccan girl who habitually bites the back of her hand until it bleeds, believes she's found love; a woman exits her house momentarily into the night chill, the entrance door slams behind her and she has nowhere to go except to the small campfire Palestinian workers from The West Bank have kindled nearby - these are some of the diverse characters populating the intriguing stories in Amstel.Praise for Amstel:"I discovered a lush, rare literary language in the story 'Amstel.' I read it and was dumbfounded that writers still exist who are capable of creating a sentence worthy of Thomas Mann, filled with detail and sparks and shards of images all flowing together to create a portrait from within and simultaneously observed from a distance...It is a truly classic tale, with no jarring notes...demanding a period of reflection before reading anything."Benny Ziffer, Haaretz Daily

A collection of stories, told first-hand, by people who have known Bobby Fischer in the past. There are 7 authors in all, making for a book with many different views on America’s greatest chess player of all time.

"Bioart is a new art form that has emerged from the cultural impact and increasing accessibilty of contemporary biotechnology. Signs of Life is the first book to focus exclusively on art that uses biotechnology as its medium, defining and discussing the theoretical and historical implications of bio art and offering examples of work by prominent artists. Bio art manipulates the processes of life; in its most radical form, it invents or transforms living organisms. It is not representational; bio art is in vivo. (A celebrated example is Eduardo Kac's own GFP Bunny, centered on Alba, the transgenic green rabbit.) The creations of bio art become a part of evolution and, provided they are capable of reproduction, can last as long as life exists on earth. Thus, bio art raises unprecedented questions about the future of life, evolution, society, and art. The contibutions to Signs of Life articulate the critical theory of bio art and documents its fundamental works. The writers - who include such prominent scholars as Barbara Maria Stafford, Eugene Thacker, and Dorothy Nelkin - consider the culture and aesthetics of biotechnology, the ethical and philosophical aspects of bio art, and biology in art history. The section devoted to artworks and artists including George Gessert's "Why I Breed Plants," Oron Catts and Ionat Zurr's "Semi-Living Art," Marc Quinn's "Genomic Portrait," and Heather Ackroyd and Dan Harvey's "Chlorophyll Apparitions.". --

s/t: A foreign correspondent's life behind the lines An account of Edward Behr's time in China and South East Asia during the 60s and 70s.

High King Agamemnon faces the most crushing dilemma of his life. Kill his beloved eldest daughter? Or forfeit victory in the Trojan War? A father’s secret plot clashes with a girl’s romantic dreams in this chilling classic play from Ancient Greece. The most powerful dramatic script by EURIPIDES springs to life anew in a fresh adaptation by writer EDWARD EINHORN (Paradox in Oz, Fractions in Disguise, The Marriage of Alice B. Toklas by Gertrude Stein) with AGE OF BRONZE art by Eisner Award-winning ERIC SHANOWER (AGE OF BRONZE, Oz Graphic Novels, Little Nemo: Return to Slumberland).

It's 1914 and war has gripped the world... Lieutenant Thomas Knowlton awakes after a night of heavy drinking with Hans Erhardt, a German P.O.W who has been interned at the neutral port of Manila.Much to Knowlton's dismay, he soon realises he's missed his Submarine. It had left without him!Baker an inexperienced sailor and friend of Knowlton's, covers for his absence. However, without Knowlton to do his duty, the submarine sinks to the ocean floor, with all those on board perishing inside.What is Knowlton to do? He's has been presumed dead, as well as being the presumed cause of the tragedy for not doing his duty. If he's found to still be alive he would certainly be court martialled and executed.To make things worse, he sees Erhardt has stolen his uniform and is boarding a Dutch liner to make his way back to the war.This was all Erhardt's fault!He now goes by the name of Tom Knowles and has been making a living as a hard-working, hard-drinking riveter in shipyards around the world.He has been doing well for himself.Soon, however, he hears about a German U-boat, U-38 that has been targeting and wreaking havoc among neutral American merchant vessels. This particular U-boat appears to be captained by none other than Hans Erhardt...It can only be a matter of time before the U.S.A enters the theatre of war and Tom Knowles can enact his vengeance...After a series of brave feats of ingenuity and horrific experiences at sea, he once again finds himself captaining a submarine and going head to head with the figurehead of his anger.The detail and depth of emotion present in this chilling and claustrophobic tale in enthralling. A story of heroism and revenge in the harshest of conditions. A must-read for anyone with an interest in the history of the First World War, or any fan of Naval history. Commander Ellsberg's attention to detail and bleakly realistic storytelling are simply brilliant. Praise for Edward Ellsberg 'done in high adventure style' - Kirkus Reviews 'Authentic material in a good yarn' - Kirkus Reviews Rear Admiral Edward Ellsberg returned to active service with the navy the morning after Pearl Harbour, after a life of hazardous adventure in salvage operations, during which he won the United States Navy's Distinguished Service Medal. He thereby became the first man to gain the award in peacetime. At Massawa he raised the two Italian Floating Docks, in spite of expert opinion that it was impossible. Later he served as Principal Salvage Officer under General Eisenhower in North Africa and afterwards in the Normandy Invasion. Rear Admiral Ellsberg was awarded the C.B.E. by His Majesty King George VI, and two Legions of Merit by the United States Government.

Long before Stonewall, young Air Force veteran Edward Field, fresh from combat in WWII, threw himself into New York’s literary bohemia, searching for fulfillment as a gay man and poet. In this vivid account of his avant-garde years in Greenwich Village and the bohemian outposts of Paris’s Left Bank and Tangier—where you could write poetry, be radical, and be openly gay—Field opens the closet door to reveal, as never been seen before, some of the most important writers of his time. Here are young, beautiful Susan Sontag sitting at the feet of her idol Alfred Chester, who shrewdly plotted to marry her; May Swenson and her two loves; Paul and Jane Bowles in their ambiguous marriage; Frank O’Hara in and out of bed; Fritz Peters, the anointed son of Gurdjieff; and James Baldwin, Isabel Miller (Patience and Sarah), Tobias Schneebaum, Robert Friend, and many others. With its intimate portraits, Field’s memoir brings back a forgotten era—postwar bohemia—bawdy, comical, romantic, sad, and heroic.