Nietzsche made a pathological use of his best ideas, anchoring them in his own fluctuating bodily and mental conditions. Thus Nietzsche's belief that questions to truth and morality are at base questions of power and fitness resonates dynamically and intellectually with his alternating lucidity and delirium.

Future developments in war, armed conflict and international relations are central to our collective fate in this century. This book looks forward by considering the forces that will drive changes in military organizations, sources of conflict, the power of states and the nature of the international system. New military technologies will alter how wars are fought and will influence the balance of power. Changes in the global environment will provide new causes of conflict and will change economic priorities. As a result, the state will survive as the key social institution and populations will look to it to acquire and to distribute scarce resources like water, energy and land. Many of the changes that seem transformatory today, like globalization, the internet and mass consumerism, will be shown to be less significant than we believe them to be. Hirst puts such changes into perspective by comparing them with the revolutionary changes in the sixteenth and seventeenth centuries in Europe: the firepower revolution, the rise of the sovereign territorial state and the parallel development of the international system, and the creation of world trade. These basic structures of the modern world are still with us and will remain, despite major changes in twenty-first-century society. This book will appeal to students of politics, political sociology & international relations as well as the interested general reader.

Discussion of the Intentions of the Founding Fathers

This work focuses on the lives and works of 20 of the great medievalists of this century, demonstrating how the events of their lives, and their emotional and spiritual outlooks influenced their interpretations of the Middle Ages.

First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

This book is an original—the first-ever treatment of the mathematics of Luck. Setting out from the principle that luck can be measured by the gap between reasonable expectation and eventual realization, the book develops step-by-step a mathematical theory that accommodates the entire range of our pre-systematic understanding of the way in which luck functions in human affairs. In so moving from explanatory exposition to mathematical treatment, the book provides a clear and accessible account of the way in which luck assessment enters into the calculations of rational decision theory.

The panic of 1819 was America's first great economic crisis. And this is Murray Rothbard's masterful account, the first full scholarly book on the topic and still the most definitive. It was his dissertation, published in 1962 but nearly impossible to get until this new edition.The American Economic Review was wild for this book when it appeared: "Rothbard's work represents the only published, book-length, academic treatise on the remedies that were proposed, debated, and enacted in attempts to cope with the crisis of 1819," the reviewer wrote. "As such, the book should certainly find a place on the shelf of the study of U.S. business cycles and of the economic historian who is interested in the early economic development of the United States."And specialists have treasured the book for years. It is incredible to realize that some American historians think of M.N. Rothbard as the author of this book and nothing else!The panic of 1819 grew largely out of the changes wrought by the War of 1812, and by the postwar boom that followed. The war also brought a rash of paper money, as the government borrowed heavily to finance the conflict. This would inevitably lead to suspension of specie payments in some parts of the country in 1814.Freed from the shackles of hard money, the suspension of specie led to a boom. When peace came, the so did the bust.But in the end, there was no widespread confusion on what caused the downturn. Instead, it was widely known that false prosperity is a very dangerous thing. It always turns to bust. But unlike today, the government didn't intervene. And precisely because there was no intervention, the panic ended quickly and peacefully.What we have here, then, is not only a dazzling historical account — the research here is deep and thorough, and the prose a model of exposition; it also points the way to how all economic downturns can and should be handled. For that reason, the Panic of 1819 offers important lessons for us today.To search for Mises Institute titles, enter a keyword and LvMI (short for Ludwig von Mises Institute); e.g., Depression LvMI

No dust jacket.Hardback, ex-library, with usual stamps and markings, in fair all round condition suitable as a reading copy.

"More than forty years of scribble, scribble, scribble, and I have been sued only once..." But this collection of essays is no less a pleasure to read for all that. Mordecai Richler is an exuberant essayist, with a combative wit and sharp eye, regularly offending some, endearing himself mightily to others, and always hugely entertaining. Like all great satirists, he is passionate about the world in which we live; it's that appetite for life and friendship, his love of sanity and common sense as much as his hatred for sacred cows, that lies at the heart of this irresistible book.

Why do funny movies make us laugh? In this thoughtful essay, by turns stimulating and meditative, distinguished filmmaker and Yale professor Michael Roemer shares his musings on what causes us to chortle, snort, and guffaw when we watch antics onscreen or onstage. Roemer keeps us chuckling as he dissects punchy one-liners, Shakespearean plays, and everything in-between. Incorporating theories from such great thinkers as Sigmund Freud, Charles Baudelaire, Henri-Louis Bergson, and Soren Kierkegaard with the work of classic comedians like Charlie Chaplin, Buster Keaton, and the Marx Brothers, Roemer examines the purpose of comedy in our lives and in society. Shocked But Connected provides a serious reflection on a lighthearted subject.

"A biography of Dorothy Wrinch"--

How the negotiation between poetic and media discourses takes place is the subject of Marjorie Perloff's groundbreaking study. Radical Artifice considers what happens when the "natural speech" model inherited from the great Modernist poets comes up against the "natural speech" of the Donahue "talk show," or again, how visual poetics and verse forms are responding to the languages of billboards and sound bytes. Among the many poets whose works are discussed are John Ashbery, George Oppen, Susan Howe, Clark Coolidge, Lyn Hejinian, Leslie Scalapino, Charles Bernstein, Johanna Drucker, and Steve McCaffery. But the strongest presence in Perloff's book is John Cage, a "poet" better known as a composer, a philosopher, a printmaker, and one who understood, almost half a century ago, that from now on no word, musical note, painted surface, or theoretical statement could ever again escape "contamination" from the media landscape in which we live. It is under his sign that Radical Artifice was composed.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This collection of essays probes the values in a variety of authors who have had in common the fact of popularity and erstwhile reputation. Why were they esteemed? Who esteemed them? And what has become of their reputations, to readers, to the critic himself? No writer here has been asked to justify the work of his subject, and reports and conclusions about this wide variety of creative writers vary, sometimes emphasizing what the critic believes to be enduring qualities in the subject, in several cases finding limitations in what that writer has to offer us today.