The Masses Are Revolting reconstructs a pivotal era in the history of affect and emotion, delving into an archive of nineteenth-century disgust to show how this negative emotional response came to play an outsized, volatile part in the emergence of modern British society. Attending to the emotion's socially productive role, Zachary Samalin highlights concrete scenes of Victorian disgust, from sewer tunnels and courtrooms to operating tables and alleyways. Samalin focuses on a diverse set of nineteenth-century writers and thinkers—including Charles Darwin, Charles Dickens, Karl Marx, Friedrich Engels, Thomas Hardy, George Gissing, and Charlotte Brontë—whose works reflect on the shifting, unstable meaning of disgust across the period. Samalin elaborates this cultural history of Victorian disgust in specific domains of British society, ranging from the construction of London's sewer system, the birth of modern obscenity law, and the development of the conventions of literary realism to the emergence of urban sociology, the rise of new scientific theories of instinct, and the techniques of colonial administration developed during the Indian Rebellion of 1857. By bringing to light disgust's role as a public passion, The Masses Are Revolting reveals significant new connections among these apparently disconnected forms of social control, knowledge production, and infrastructural development.

The Masses Are Revolting reconstructs a pivotal era in the history of affect and emotion, delving into an archive of nineteenth-century disgust to show how this negative emotional response came to play an outsized, volatile part in the emergence of modern British society. Attending to the emotion's socially productive role, Zachary Samalin highlights concrete scenes of Victorian disgust, from sewer tunnels and courtrooms to operating tables and alleyways. Samalin focuses on a diverse set of nineteenth-century writers and thinkers—including Charles Darwin, Charles Dickens, Karl Marx, Friedrich Engels, Thomas Hardy, George Gissing, and Charlotte Brontë—whose works reflect on the shifting, unstable meaning of disgust across the period. Samalin elaborates this cultural history of Victorian disgust in specific domains of British society, ranging from the construction of London's sewer system, the birth of modern obscenity law, and the development of the conventions of literary realism to the emergence of urban sociology, the rise of new scientific theories of instinct, and the techniques of colonial administration developed during the Indian Rebellion of 1857. By bringing to light disgust's role as a public passion, The Masses Are Revolting reveals significant new connections among these apparently disconnected forms of social control, knowledge production, and infrastructural development.

How insurgencies—enabled by digital devices and a vast information sphere—have mobilized millions of ordinary people around the world. In the words of economist and scholar Arnold Kling, Martin Gurri saw it coming. Technology has categorically reversed the information balance of power between the public and the elites who manage the great hierarchical institutions of the industrial age: government, political parties, the media. The Revolt of the Public tells the story of how insurgencies, enabled by digital devices and a vast information sphere, have mobilized millions of ordinary people around the world. Originally published in 2014, The Revolt of the Public is now available in an updated edition, which includes an extensive analysis of Donald Trump’s improbable rise to the presidency and the electoral triumphs of Brexit. The book concludes with a speculative look forward, pondering whether the current elite class can bring about a reformation of the democratic process and whether new organizing principles, adapted to a digital world, can arise out of the present political turbulence.

José Ortega y Gasset (1883–1955) was a Spanish philosopher and essayist best known for The Revolt of the Masses, first translated into English in 1932. In it, Ortega critiques a populist deformation of democracy by the rise of a “mass mentality” characterized by selfishness, a lack of curiosity, and a general indifference to the opinions and attitudes of others. However, as Brendon Westler makes clear, we need to look beyond Ortega’s arguments about populism and democracy in his most famous work to recover the philosopher’s expansive political outlook and to identify his valuable contributions to the history and advancement of liberalism. Westler’s book reconstructs Ortega’s political theory, underscoring its distinctive historical origins as well as the ways in which it might be instructive to us today. Through an exploration of works less familiar to an English-speaking audience, such as Concord and Liberty, “Vieja y nueva política,” “De Europa meditatio Quaedam,” and “Democracia morbosa,” combined with a sensitivity to larger social and political ideas circulating within Spain, The Revolting Masses traces the contours of Ortega’s approach to politics. Westler argues that reading texts written over the course of the philosopher’s entire career, in combination with The Revolt of the Masses, offers a more complete picture of Ortega’s political thought—one that advocates for a liberal ethos as an answer to populism and promotes both individual freedom and the preservation of community bonds. As The Revolting Masses shows, Ortega was, above all, a philosopher who reflected on what it would take for people of differing beliefs to live together. His unique conception of liberalism, grounded in the Spanish tradition, not only emphasizes pluralism and diversity of thought and institutions but also serves as a potential antidote to the populism of our present moment.

The Masses Are Revolting makes two overarching claims about the interrelation of disgust and aesthetics in Victorian culture and literature. First, I place the Victorian novel's focus on the newly repulsive conditions of British society in dialogue with the privileged position Enlightenment aesthetics afforded to the disgusting as the antithesis of the beautiful. An object which disgusts cannot be aesthetically pleasing, the story goes, since it is felt to be as repulsive in art as in nature. Traditional aesthetics thus prohibited the disgusting from artistic and literary composition, because it was thought to overflow the representational frame and preclude disinterested judgment. Through close readings of works by Charlotte Bronte, John Ruskin, Thomas Hardy, and George Gissing, I argue that Victorian literary texts, to the contrary, took this boundary confusion between disgusting representations and disgusting realities as a point of departure, and so broke much more sharply with the 18th and early 19th century discourse of taste and beauty than has conventionally been acknowledged. Second, while emphasizing this disconnect between Victorian literary practice and aesthetic theory, I also examine the unprecedented importance that Victorians afforded to disgust as a public and political passion, focusing in individual chapters on the complex roles that disgust played in Victorian medicine, physiology, obscenity law, and sanitation. In a chapter surveying the documentation of the 1858 Great Stink of London, for example, I argue that the Victorian rhetoric of social revulsion produced in the wake of the sewage crisis derived from the Enlightenment discourse of aesthetic judgment. Thus, while Victorian literature industriously flouted the aesthetic prohibition of the disgusting, industrial society absorbed it.

"For many, the appearance of Occupy Wall Street seemed so sudden and so surprising it seemed to have come out of nowhere. But Occupy Wall Street was in some sense not unusual: it was part and parcel of a long history of riot, revolt, uprising, and sometimes even revolution that has shaped the city and the larger histories and geographies of which it is part. The history of New York is, in significant part, a history of revolt. Many citizens, activists, and scholars know pieces of that history, but nowhere has it been put together in something close to its entirety. The effect is that each revolt or uprising seems almost sui generis, always surprising, disconnected from both its long- and near-term history and social geography. Revolting New York brings together the historical geography of revolt in New York in its fullness, from the earliest uprisings of the Munsee against Dutch occupation of Manhattan to Occupy. All in a style accessible to a broad as well as academic audience The book will show that there is a continuous, if varied and punctuated, history of rebellion in New York that is at least as vital as the more standard histories of formal politics, planning, economic growth and restructuring that largely define our consciousness of New York's evolution and the structuring of life within it" --

This text challenges American notions of democracy and ambition, culture and civic responsibility, charting a decline in democratic values and debate. It states that this change is due to the "new elites" who, having lost their sense of communitarianism, will not accept ties to nation and to place.

This short book rewrites the history of modern American liberalism. It shows that what we think of as liberalism—the top-and-bottom coalition we associate with President Obama—began not with Progressivism or the New Deal but rather in the wake of WWI, in disillusionment with American society. In the 1920s, the first thinkers to call themselves liberals adopted the hostility to bourgeois life that had long characterized European intellectuals of both the left and right. The aim of liberalism’s founders—such as Herbert Croly, Randolph Bourne, H.G. Wells, Sinclair Lewis, and H.L. Mencken—was to create an American version of the aristocracy long associated with European statism. Critical of mass democracy and middle-class capitalism, liberals despised the businessman’s pursuit of profit as well as the conventional individual’s pursuit of pleasure; and in the 1950s liberalism expressed itself in the scornful critique of popular culture. It was precisely the success of a recently elevated middle-class culture that frightened the leaders of the New Class, who took up the priestly task of de-democratizing America in the name of administering newly developed rights. The neo-Malthusianism that emerged from the 1960s did not aim to control the breeding habits of the lower classes, as its eugenicist precursors had done, but to mock and restrain the buying habits of the middle class. Today’s brand of liberalism, led by Barack Obama, has displaced the old Main Street private-sector middle class with a new middle class composed of public-sector workers allied with crony capitalists and the country’s arbiters of elite style and taste.

This book is first and foremost a detailed and meticulous study of Ortega y Gasset's The Revolt of the Masses (1930). No other up-to-date books explore this thinker and his great work. Most importantly, the author demonstrates the relevance and importance of Ortega y Gasset's thought and his The Revolt of the Masses for today's world, showing, for instance, how Ortega's categories like "mass man" and "decadence," have been vindicated by today's spiritual, moral and cultural decay. This aspect of the book will perhaps be of major interest to the reading public. What Ortega argues for in his brief history of philosophy is something that he has otherwise made explicit throughout his work, mainly his conviction that strictly speaking philosophy as an activity or manner of thinking that faces naked reality, holistically, ended long ago with the ancient Greeks. All subsequent philosophical endeavors have been merely a rehashing or an academic commentary on the pre-existing philosophical canon. This latter activity he saw as pertaining to the history of philosophy, but he did not regard it as philosophy. Philosophy, as a vital and life-forging way of life, he argued, had played out its originality, and thus had run its course, long ago. With a glossary of special terms as used by Ortega, and with references to Albert Camus, Gabriel Marcel, C.S. Lewis, Friedrich Nietzsche, Josef Pieper, and others, this work is a fundamental tool for any student of Ortega, of existentialism, and 20th-century European philosophy. Pedro Blas Gonzalez is Associate Professor of Philosophy at Barry University in Miami. His areas of specialization include Continental philosophy, specifically Phenomenology, Existentialism, and philosophical aspects of literature. His works include Fragments: Essays In Subjectivity, Individuality And Autonomy (Algora, 2005), and Human Existence as Radical Reality: Ortega's Philosophy of Subjectivity (Paragon House, 2005). Gonzalez holds a Ph.D. in Philosophy from DePaul University.