"Between 1978 and 1979, Jacques Derrida delivered a seminar on the themes of "the gift" and "time" titled "Donner-le temps." The first part of that seminar was published in 1991. Given Time II is an archival discovery of the second installment that was promised but never came to fruition during Derrida's lifetime. The eight seminar sessions collected here represent Derrida's most advanced work on the problematic of the gift in Heidegger's thought, with deep dives into some of the richest and most difficult texts in the Heideggerian corpus, such as the essays "The Origin of the Work of Art," "The Thing," and "On Time and Being." Beyond Heidegger, Derrida skillfully engages Claude Lévi-Strauss, Marcel Mauss, Maurice Blanchot, Jacques Lacan, and others on the topic of the gift. The themes discussed include the act of giving and receiving gifts, the necessary link between time and the gift, being as some "thing" given that exceeds things and beings as such, the sacrificial gift, and others. Through these analyses, Derrida begins to identify the paradox of gift giving: For the gift to be received as a gift, it must not appear as such, since its mere appearance as gift puts it in the cycle of repayment and debt. Given Time II is a remarkable and uniquely Derridean treatment of an important subject in the work of Heidegger and beyond"-- Provided by publisher.

The Beatles Magical Mystery Tour and Yellow Submarine is the latest installment in the Beatles Album Series by Beatles historian Bruce Spizer. The book covers the songs and projects undertaken by the Beatles shortly after completion of their album Sgt. Pepper's Lonely Hearts Club Band in April 1967. In following ten months, the group wrote and recorded the song "All You Need Is Love" for the Our World TV program that was broadcast by satellite throughout the world, wrote the songs for and filmed the TV spectacular Magical Mystery Tour , wrote the songs for their feature length cartoon film Yellow Submarine , and recorded the songs "Lady Madonna" and "Across The Universe" before heading to India to study transcendental meditation in mid-February 1968. The book covers these remarkable achievements from the British, American, and Canadian perspectives, and includes chapters on the packaging of the albums and the writing and recording of the songs. It also has chapters on how the Beatles influenced our world, the friendly rivalry between the Beatles and the Rolling Stones, the Beatles Saturday morning cartoons, dozens of fan recollections, and more. The book has over 150 images.

Ever wonder why so many B actors wind up as A-grade politicians? Or how the casting couch worked? Acclaimed author Kathleen Sharp traces the influence of show business through the lives of its first power couple. Edie and Lew Wasserman built the world's largest talent agency, MCA, created the multibillion-dollar Universal Studios, and helped shape Washington, DC. Starting from MCA's birth in gangland Chicago, Lew represented stars such as Jimmy Stewart and Marilyn Monroe; pioneered TV with Leave It to Beaver and Miami Vice ; spawned the blockbuster movie model with Psycho and Jaws ; and developed a mega-theme park. His savvy wife, Edie, was the daughter of a mob attorney, the queen of A-list parties, and Lew's secret agent who boosted their status. Yet, the couple was attacked by rivals, federal prosecutors, and their own protégés. Even so, over the course of seven decades they managed to vanquish their enemies and parlay their influence far beyond Sunset Strip into governors' mansions, Senate chambers, and the White House. At the end, Edie and Lew became diplomats, kingmakers, and philanthropists, who elevated the fortunes of middle-class workers and California itself. Based on some four hundred interviews, this book features Janet Leigh, Clark Gable, Grace Kelly, John Belushi, Jean Stein, and Steven Spielberg along with the Kennedys, the Johnsons, the Reagans, and the Clintons. It's a fascinating read about how two kids from Cleveland created the largest entertainment conglomerate in the world and wound up ruling twentieth-century America.

A cultural survey tracing the development of musical instruments throughout the world, from prehistoric times to the twentieth century

A visually dynamic homage to the paperback. In 1968, John Leonard, then editor of The New York Times Book Review , listed the many merits of mass-market paperbacks: "They can be stuffed in purses, left in buses, dropped in toilets, used as coasters, eaten and thrown away. Their covers can be ripped off! Their spines can be broken! To buy a paperback today is to buy the means of revenging oneself on Western culture." Fast-forward forty years. Leonard’s affectionately flippant assessment may need to be revised as the explosion of digital media threatens the livelihood of the printed word. More than an act of revenge on Western culture, to buy a paperback may be a means of preserving one of its more charismatic—and socially, politically, and aesthetically influential—species. Breathless Homicidal Slime Mutants celebrates the mass-market paperback and gives it its due. A vibrant tour that starts with books from the late nineteenth century up to today, examining the most popular genres—mystery, romance, Westerns, how-to, cooking, and diet, and highbrow literature packaged for the broader audience—it focuses on the history of the art and design of the format and how it is inseparable from the history of American literacy, tastes, and mores of the twentieth century.

Louis Armstrong, Duke Ellington, Billie Holiday, Ella Fitzgerald, Count Basie, Lester Young, Charlie Parker, Norman Granz, Oscar Peterson, Ray Charles, Don Ellis, and Miles Davis-these are the dozen jazz figures whom Leonard Feather chose to describe the development of jazz. This is the first Feather book to examine in-depth the innovative figures who have led the way throughout the music's history. As composer, producer, and for almost half-a-century one of its leading critics, Feather has a unique perspective of these jazz immortals. He has worked with and known all of them. "These are portraits of human beings first, analyses of musicians or musical history only peripherally if at all," says Feather in his new foreword. A warm, affectionate, and perceptive inside account of twelve originals, the book is packed with wonderful stories. As Feather says: "Most of all I am grateful for the inspiration and friendship of the artists themselves. Armstrong and Ellington were directly responsible, through their records, for drawing me to jazz. After their magic had worked on me, the others, one by one, sustained and refreshed and invigorated my interest in, an involvement with, this liveliest of twentieth-century arts."

Hollywood calls it the "shoot out"... the point during the making of a movie when star-fits and power struggles turn into standoffs, walk-outs, and clashing egos. How a film ever gets made is a wonder. Leave it to two industry icons to unreel the true story...

In this book gender is the lens through which autobiography and biography are scrutinized. The authors show what is revealed when they magnify the gendered aspects of both men’s and women’s writing. The eternal questions of identity, choice, responsibility, happiness, tragedy, and even death are interpreted in terms of gender analysis. The book presents a sequence of studies from the early nineteenth to the late twentieth century that includes individuals such as American poet Anne Sexton and German writers Christa Wolf and Paul Celan, and groups such as nineteenth-century Mexican women and members of the British working class. It extends the paradigm of “self-reflexive” literature to include and highlight the overlap between autobiography and biography, especially in the case of women who often wrote their lives obliquely through the biographies of their famous male relatives, e. g., Adèle Hugo and Anne Thackeray Ritchie. The authors refuse to accept a monolithic conception of gender. The studies of Charles and Mary Lamb, Nadezhda Durova, and John Stuart Mill demonstrate that even in the nineteenth century, a binary gender system is inadequate as a mode of approach to actual life stories.

extremely rare,very good condition

Wide-ranging, discerning essays and reviews in which Mr. Brustein finds that the theatre has been quietly reinventing the nature of its art.

Raphael Bronstein is among the most legendary violin instructors in recent memory. Arguably one of the strongest influences on our current generation of violin teachers and players, he counted among his students such luminaries as Elmar Oliveira, Martha Strongin Katz, Lya Stern, Jay Zhong, and his own daughter, Ariana Bronne. Though he taught over 1000 students in the course of his career, The Science of Violin Playing is his only publication. A treasure for serious students of the violin, this book contains page after page of instructive and inspiring wisdom. Best read slowly and carefully, Bronstein teaches violin playing as both an art and science, turning his exacting eye and ear to every aspect of the instrument. Lessons include: The principles and importance of visual intonation Left hand technique and practice habits The psychology of violin playing Right arm technique including santille, spiccato, martele, ricochet, and more Interpretation of pieces for performance Technical analyses of complete violin concerti, including works by Mozart, Mendelssohn, and Tchaikowsky For dedicated and ambitious violinists, this is a book to be studied, read, and re-read. Filled with a career's worth of advice and wisdom, The Science of Violin Playing is a remarkable book for all aspiring performers and teachers.

The essays in Phillip Lopate's new book record an ardent three-decades-plus love affair with the movies; like Michel Piccoli with Brigitte Bardot in Godard's "Contempt," he is "totally, tenderly, tragically" besotted with the cinema. Artfully braiding emotional and intellectual autobiography with critical and historical commentary, these essays exemplify and record a passionate engagement with an irreplaceable art form, its creators, and its critics. Lopate evaluates those filmmakers who have most affected him since his days as a nascent film cultist at Columbia: Antonioni, Godard, Bresson, Mizoguchi, Fassbinder, Ozu, and Visconti. He celebrates Andrew Sarris as the film critic who first won his heart and provides an eye-opening extended portrait and fondly skeptical critique of Pauline Kael, the most influential film writer of our time. And in essays such as "The Last Taboo: The Dumbing Down of American Movies, " he addresses the elusive question of whether movies can actually think. With his full-hearted affection and bracing intelligence, Phillip Lopate captures, as few others have, the insistent allure of films and filmgoing.

Covering every aspect of the genre, this book presents more than 400 of the best, most original, historically significant and even worst works of horror from film and literature.

Symposium of the Whole traces a discourse on poetry and culture that has profoundly influenced the art of our time, with precedents going back two centuries and more. Beginning with a reassertion of the complexity of poetry among peoples long labeled “primitive” and “savage,” many recent poets have sought to base a new poetics over the fullest range of human cultures. The attempt to define an ethnopoetics has been significantly connected with the most experimental and future-directed side of Romantic and modern poetry, both in the Western world and, increasingly, outside it. As a visionary poetics and as a politics, this complex redefinition of cultural and intellectual values has involved a rarely acknowledged collaboration between poets and scholars, who together have challenged the narrow view of literature that has excluded so many traditions. In this gathering, the Rothenbergs follow the idea of an ethnopoetics from predecessors such as Vico, Blake, Thoreau, and Tzara to more recent essays and manifestos by poets and social thinkers such as Olson, Eliade, Snyder, Turner, and Baraka. The themes range widely, from the divergence of oral and written cultures to the shaman as proto-poet and the reemergence of suppressed and rejected forms and images: the goddess, the trickster, and the “human universe.” The book’s three ethnographic sections demonstrate how various poetries are structured and composed, how they reflect meaning and worldview, and how they are performed in cultures where all art may be thought of as art-in-motion. Among the poetries discussed are the language of magic; West African drum language and poetry; the Huichol Indian language of reversals; chance operations in African divination poetry; picture-writings and action-writings from Australia and Africa; and American Indian sacred-clown dramas and traditional trickster narratives. The cumulative effect is a new reading of the poetic past and present—in the editors’ words, “a changed paradigm of what poetry was or now could come to be.”

"It is a collection of essays that takes up, in a mostly affirmative way, various challenges to the coherence of the "human body" as a figure through which culture is processed and oriented." Partial contents : The end of the world of White Men ; Class and its close relations : identities among women, servants, and machines ; Soft fictions and intimate documents : can feminism be posthuman? ; Reproducing the posthuman body : ectogenetic fetus, surrogate mother, pregnant man ; The seductive power of science in the making of deviant subjectivity ; Phantom and reel projections lesbians and the (serial) killing-machine ; "Death of the family."

Fly Like a Bat Out of Hell collects the almost fifteen-year correspondence between two of America's most influential modern poets, Harold Norse and Charles Bukowski. Norse, then a tenuously established writer, acolyte of William Carlos Williams and one-time resident of the Beat Hotel, began exchanging letters with the fledgling bard of the downtrodden, Bukowski, in 1963. Their daily struggle for self-determination, recognition, and just a little money provides the dramatic arc of their ribald, thoughtful, often licentious, and always quotable correspondence. Sparring and exhorting, comforting and recriminating in terrific counterpoint, outdoing one another in scatological complaint, Norse and Bukowski intimately reveal the seldom seen realities of creative lives.

On the motion-picture front, no other publication of our age has achieved the stature, vitality, or magic of Vanity Fair. In its coverage of the film industry, the magazine prides itself on assigning the world's top photographers, writers, and illustrators to explore the brightest stars in the Hollywood firmament. Now, for the first time, the most memorable renderings of this illustrious pantheon have been assembled in one volume: Garbo and Swanson, Fairbanks and Pickford, Gable and Grant, Tracy and Hepburn, Taylor and Burton -- along with today's cinematic giants, including Cruise and Kidman, Nicholson and Streep, De Niro and DiCaprio, Tom Hanks and Julia Roberts, and scores more. As this sweeping, lavish book makes clear, Vanity Fair's stable of photographers (Cecil Beaton, Annie Leibovitz, Helmut Newton, Herb Ritts, Edward Steichen, Mario Testino, Bruce Weber, and many others represented here) have helped define modern portraiture. Likewise, Vanity Fair's Hollywood includes Vanity Fair contributors of the past (D.H. Lawrence, Clare Boothe Luce, Dorothy Parker, Carl Sandburg, Walter Winchell, and P.G. Wodehouse) and of the present.