A sophisticated new view of power as a network of social boundaries.

This book looks at why people keep using identities even after the stories from which they were constructed have been rejected.

The third edition of this seminal work includes the original text, first published in 1974, the updates and reflections from the second edition and two groundbreaking new chapters. Power: A Radical View assesses the main debates about how to conceptualize and study power, including the influential contributions of Michel Foucault. The new material includes a development of Lukes's theory of power and presents empirical cases to exemplify this. Including a refreshed introduction, this third edition brings a book that has consolidated its reputation as a classic work and a major reference point within Social and Political Theory to a whole new audience. It can be used on modules across the Social and Political Sciences dealing with the concept of power and its manifestation in the world. It is also essential reading for all undergraduate and postgraduate students interested in the history of Social and Political Thought. New to this Edition: - A revised and refreshed introduction - Two new chapters on 'Domination and Consent' and 'Exploring the Third Dimension'

"This is the first comprehensive examination of modern iconoclasm. Dario Gamboni looks at deliberate attacks carried out - by institutions as well as individuals - on paintings, buildings, sculptures and other works of art in the nineteenth and twentieth centuries. Truly international in scope, "The Destruction of Art" examines incidents, some comic and others disquieting, in the USA, France, the former Soviet Union and other eastern bloc states, Britain, Switzerland, Germany and elsewhere. Motivated in the first instance by the recent destruction of many monuments in Europe's former Communist states, which challenged the assumption that iconoclasm was truly a thing of the past, the author has discovered just how widespread the destruction of art is today, manifested in explicable and inexplicable vandalism, political protest and censorship of all sorts. Dario Gamboni examines the relationship between contemporary destructions of art, older forms of iconoclasm and the development of modern art. His analysis is illustrated by case studies from Europe and the United States, from Suffragette protests in London's National Gallery to the controversy surrounding the removal of Richard Serra's Tilted Arc in New York and the resultant debate on artists' moral rights. "The Destruction of Art" asks what iconoclasm can teach us about the place of works of art and material culture in society. The history of iconoclasm is shown to reflect, and to contribute to, the changing and conflicting definitions of art itself." -- BOOK JACKET.

Frames, Erasures, Graffiti --Writing in Relation --Guidestars, Tangles, Hauntologies.

In Power in Modernity, Isaac Ariail Reed proposes a bold new theory of power that describes overlapping networks of delegation and domination. Chains of power and their representation, linking together groups and individuals across time and space, create a vast network of intersecting alliances, subordinations, redistributions, and violent exclusions. Reed traces the common action of “sending someone else to do something for you” as it expands outward into the hierarchies that control territories, persons, artifacts, minds, and money. He mobilizes this theory to investigate the onset of modernity in the Atlantic world, with a focus on rebellion, revolution, and state formation in colonial North America, the early American Republic, the English Civil War, and French Revolution. Modernity, Reed argues, dismantled the “King’s Two Bodies”—the monarch’s physical body and his ethereal, sacred second body that encompassed the body politic—as a schema of representation for forging power relations. Reed’s account then offers a new understanding of the democratic possibilities and violent exclusions forged in the name of “the people,” as revolutionaries sought new ways to secure delegation, build hierarchy, and attack alterity. Reconsidering the role of myth in modern politics, Reed proposes to see the creative destruction and eternal recurrence of the King’s Two Bodies as constitutive of the modern attitude, and thus as a new starting point for critical theory. Modernity poses in a new way an eternal human question: what does it mean to be the author of one’s own actions?

Defacement asks what happens when something precious is despoiled. In specifying the human face as the ideal type for thinking through such violation, this book raises the issue of secrecy as the depth that seems to surface with the tearing of surface.

Michel Foucault has become famous for a series of books that have permanently altered our understanding of many institutions of Western society. He analyzed mental institutions in the remarkable Madness and Civilization; hospitals in The Birth of the Clinic; prisons in Discipline and Punish; and schools and families in The History of Sexuality. But the general reader as well as the specialist is apt to miss the consistent purposes that lay behind these difficult individual studies, thus losing sight of the broad social vision and political aims that unified them. Now, in this superb set of essays and interviews, Foucault has provided a much-needed guide to Foucault. These pieces, ranging over the entire spectrum of his concerns, enabled Foucault, in his most intimate and accessible voice, to interpret the conclusions of his research in each area and to demonstrate the contribution of each to the magnificent -- and terrifying -- portrait of society that he was patiently compiling. For, as Foucault shows, what he was always describing was the nature of power in society; not the conventional treatment of power that concentrates on powerful individuals and repressive institutions, but the much more pervasive and insidious mechanisms by which power "reaches into the very grain of individuals, touches their bodies and inserts itself into their actions and attitudes, their discourses, learning processes and everyday lives" Foucault's investigations of prisons, schools, barracks, hospitals, factories, cities, lodgings, families, and other organized forms of social life are each a segment of one of the most astonishing intellectual enterprises of all time -- and, as this book proves, one which possesses profound implications for understanding the social control of our bodies and our minds.

The just war tradition is central to the practice of international relations, in questions of war, peace, and the conduct of war in the contemporary world, but surprisingly few scholars have questioned the authority of the tradition as a source of moral guidance for modern statecraft. Just War: Authority, Tradition, and Practice brings together many of the most important contemporary writers on just war to consider questions of authority surrounding the just war tradition. Authority is critical in two key senses. First, it is central to framing the ethical debate about the justice or injustice of war, raising questions about the universality of just war and the tradition’s relationship to religion, law, and democracy. Second, who has the legitimate authority to make just-war claims and declare and prosecute war? Such authority has traditionally been located in the sovereign state, but non-state and supra-state claims to legitimate authority have become increasingly important over the last twenty years as the just war tradition has been used to think about multilateral military operations, terrorism, guerrilla warfare, and sub-state violence. The chapters in this collection, organized around these two dimensions, offer a compelling reassessment of the authority issue’s centrality in how we can, do, and ought to think about war in contemporary global politics.