Ever since its first publication in 1992, the New York Times bestselling The End of History and the Last Man has provoked controversy and debate. "Profoundly realistic and important...supremely timely and cogent...the first book to fully fathom the depth and range of the changes now sweeping through the world." —The Washington Post Book World Francis Fukuyama's prescient analysis of religious fundamentalism, politics, scientific progress, ethical codes, and war is as essential for a world fighting fundamentalist terrorists as it was for the end of the Cold War. Now updated with a new afterword, The End of History and the Last Man is a modern classic.

Intimate access to the mind of Francis Fukuyama and his reflections on world politics, his life and career, and the evolution of his thought

'It's been a long time since a text was so useful in helping me think through our present moment and my role within it. The End of The End of History is a clear, powerful and panoramic analysis of our world at the dawn of the 2020s.' Vincent Bevins, author, The Jakarta Method The “End of History” is over. The idea that Western liberal democracy was the “final form of human government” has been exposed as bluster: the old order is crumbling before our eyes. Angry anti-politics have arisen to threaten political establishments across the world. Elites have fallen into hysteria, blaming voters, “populism”, Putin, Facebook... anyone but themselves. They are suffering from Neoliberal Order Breakdown Syndrome. Emerging from four years of interviews and debates on the popular global politics podcast Aufhebunga Bunga, The End of the End of History examines how the political consequences of the 2008 financial crisis have come home to roost. If Trump and Brexit shattered the liberal-democratic consensus in 2016, then the global pandemic of 2020 put a final end to the “End of History”. Politics is back, but it's stranger than ever.

In this bold book, Samuel Cohen asserts the literary and historical importance of the period between the fall of the Berlin wall and that of the Twin Towers in New York. With refreshing clarity, he examines six 1990s novels and two post-9/11 novels that explore the impact of the end of the Cold War: Pynchon's Mason & Dixon, Roth's American Pastoral, Morrison's Paradise, O'Brien's In the Lake of the Woods, Didion's The Last Thing He Wanted, Eugenides's Middlesex, Lethem's Fortress of Solitude, and DeLillo's Underworld. Cohen emphasizes how these works reconnect the past to a present that is ironically keen on denying that connection. Exploring the ways ideas about paradise and pastoral, difference and exclusion, innocence and righteousness, triumph and trauma deform the stories Americans tell themselves about their nation’s past, After the End of History challenges us to reconsider these works in a new light, offering fresh, insightful readings of what are destined to be classic works of literature. At the same time, Cohen enters into the theoretical discussion about postmodern historical understanding. Throwing his hat in the ring with force and style, he confronts not only Francis Fukuyama’s triumphalist response to the fall of the Soviet Union but also the other literary and political “end of history” claims put forth by such theorists as Fredric Jameson and Walter Benn Michaels. In a straightforward, affecting style, After the End of History offers us a new vision for the capabilities and confines of contemporary fiction.

Fukuyama’s concept of the End of History has been one of the most widely debated theories of international politics since the end of the Cold War. This book discusses Fukuyama’s claim that liberal democracy alone is able to satisfy the human aspiration for freedom and dignity, and explores the way in which his thinking is part of a philosophical tradition which includes Kant, Hegel and Marx. Two new chapters in this second edition discuss the ways in which Fukuyama’s thinking has developed – they include his celebrated and controversial criticism of neoconservatism and his complex intellectual relationship to Samuel Huntington, whose Clash of Civilization thesis he rejects but whose notion of political decay is central to his more recent work. The authors here argue that Fukuyama’s continuing fundamental contributions to debates concerning the spread of democracy and threat of global terror mark him out as one of the most important thinkers of the twenty-first century.

Hopes for a new peaceful international order after the end of the Cold War have been dashed by sobering realities: Great powers are once again competing for honor and influence. The world remains “unipolar,” but international competition among the United States, Russia, China, Europe, Japan, India, and Iran raise new threats of regional conflict, and a new contest between western liberalism and the great eastern autocracies of Russia and China has reinjected ideology into geopolitics.For the past few years, the liberal world has been internally divided and distracted by issues both profound and petty. Now, in The Return of History and the End of Dreams, Robert Kagan masterfully poses the most important questions facing the liberal democratic countries, challenging them to choose whether they want to shape history or let others shape it for them.

Nations are not trapped by their pasts, but events that happened hundreds or even thousands of years ago continue to exert huge influence on present-day politics. If we are to understand the politics that we now take for granted, we need to understand its origins. Francis Fukuyama examines the paths that different societies have taken to reach their current forms of political order. This book starts with the very beginning of mankind and comes right up to the eve of the French and American revolutions, spanning such diverse disciplines as economics, anthropology and geography. The Origins of Political Order is a magisterial study on the emergence of mankind as a political animal, by one of the most eminent political thinkers writing today.

The classic and provocative account of how art changed irrevocably with pop art and why traditional aesthetics can’t make sense of contemporary art A classic of art criticism and philosophy, After the End of Art continues to generate heated debate for its radical and famous assertion that art ended in the 1960s. Arthur Danto, a philosopher who was also one of the leading art critics of his time, argues that traditional notions of aesthetics no longer apply to contemporary art and that we need a philosophy of art criticism that can deal with perhaps the most perplexing feature of current art: that everything is possible. An insightful and entertaining exploration of art’s most important aesthetic and philosophical issues conducted by an acute observer of contemporary art, After the End of Art argues that, with the eclipse of abstract expressionism, art deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, Danto makes the case for a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol’s Brillo Box and the product found in the grocery store. After the End of Art addresses art history, pop art, “people’s art,” the future role of museums, and the critical contributions of Clement Greenberg, whose aesthetics-based criticism helped a previous generation make sense of modernism. Tracing art history from a mimetic tradition (the idea that art was a progressively more adequate representation of reality) through the modern era of manifestos (when art was defined by the artist’s philosophy), Danto shows that it wasn’t until the invention of pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways in which art was produced, hinged on a narrative.

Francis Fukuyama claims that liberal democracy is the end of history. This book provides a theoretical re-examination of this claim through postmodernist ideas. The book argues that postmodern ideas provide a valuable critique to Fukuyama’s thesis, and poses the questions: can we talk about a universal and teleological history; a universal human nature; or an autonomous individual? It addresses whether postmodern theories - concerning the movement of time, what it means to be human, and what it means to be an individual/subject - can be accommodated within a theory of a history that ends in liberal democracy. The author argues that incorporating elements of postmodern thought into Fukuyama’s theory makes it possible to produce a stronger and more compelling account of the theory that liberal democracy is the end of history. The result of this is to underpin Fukuyama’s theory with a more complex understanding of the movement of time, the human and the individual, and to show that postmodern concepts can, paradoxically, be used to strengthen Fukuyama’s theory that the end of history is liberal democracy. The book will be of interest to students and scholars of political theory, postmodernism and the work of Francis Fukuyama.

Daniel Bell assesses the impact of Christian resistance to capitalism in Latin America, and the implications of theological debates that have emerged from this. He uses postmodern critical theory to investigate capitalism, its effect upon human desire and the Church's response to it, in a thorough account of the rise, failure and future prospects of Latin American liberation theology.