Over the last five years, corporations and individuals have given more money, more often, to charitable organizations than ever before. What could possibly be the downside to inhabiting a golden age of gift-giving? That question lies at the heart of Timothy Campbell’s account of contemporary giving and its social forms. In a milieu where gift-giving dominates, nearly everything given and received becomes the subject of a calculus—gifts from God, from benefactors, from those who have. Is there another way to conceive of generosity? What would giving and receiving without gifts look like? A lucid and imaginative intervention in both European philosophy and film theory, The Techne of Giving investigates how we hold the objects of daily life—indeed, how we hold ourselves—in relation to neoliberal forms of gift-giving. Even as instrumentalism permeates giving, Campbell articulates a resistant techne locatable in forms of generosity that fail to coincide with biopower’s assertion that the only gifts that count are those given and received. Moving between visual studies, Winnicottian psychoanalysis, Foucauldian biopower, and apparatus theory, Campbell makes a case for how to give and receive without giving gifts. In the conversation between political philosophy and classic Italian films by Visconti, Rossellini, and Antonioni, the potential emerges of a generous form of life that can cross between the visible and invisible, the fated and the free.

Only since the Romantic period has art been understood in terms of an ineffable aesthetic quality of things like poems, paintings, and sculptures, and the art-maker as endowed with an inexplicable power of creation. From the Greeks to the 18th century, art was conceived as techne--the skill and know-how by which things and states of affairs are ordered. Techne Theory shows how to use this concept to cut through the Romantic notion of art as a kind of magic by returning to the original sense of art as techne, the standpoint of the person who actually knows how to make a work of art. Understood as techne, art-making, like all other cultural accomplishments, is a form of work performed by an artisan who has inherited the know-how of previous generations of artisans. Along the way, Techne Theory cuts through the humanist-structuralist impasse over the question of artistic agency and explains what 'form' really means.

This book addresses the question of human uniqueness at a time when academic discourse has all but abandoned its long-held commitment to the value of individuality. Through an appraisal of the works of Emerson, Nietzsche, Heidegger, Derrida, and Foucault, the author establishes the ways in which the current critique of the self has grossly distorted the nature of the debate by reducing it to a simple choice between essential or constructed selves. Hans argues that the tradition that emerges from Emerson's work is based on a relational sense of the individual as much as it is devoted to the premise that we all have a specific form of integrity. Likewise, even though Nietzsche's critique of the fictional nature of the subject is the origin of contemporary visions of the fabricated self, Nietzsche is equally insistent that each of us is a productive uniqueness: we are all principles of selection whose links to the world embrace more than the social circumstances around us. Nietzsche's vision of our productive uniqueness is carried on in larger and smaller ways by Heidegger, Derrida, and Foucault, each of whom entertains a far more complex vision of the individual than those which currently dominate our ways of talking about what it means to be human.

Technology has changed what it means for communities to "be together." Digital tools are now part of most communities' habitats. This book develops a new literacy and language to describe the practice of stewarding technology for communities. Whether you want to ground your technology stewardship in theory and deepen your practice, whether you are a community leader or sponsor who wants to understand how communities and technology intersect, or whether you just want practical advice, this is the book for you.

This book constitutes the refereed proceedings of the 32nd International Conference on Conceptual Modeling, ER 2014, held in Atlanta, GA, USA. The 23 full and 15 short papers presented were carefully reviewed and selected from 80 submissions. Topics of interest presented and discussed in the conference span the entire spectrum of conceptual modeling including research and practice in areas such as: data on the web, unstructured data, uncertain and incomplete data, big data, graphs and networks, privacy and safety, database design, new modeling languages and applications, software concepts and strategies, patterns and narratives, data management for enterprise architecture, city and urban applications.

In modern life, technology is everywhere. Yet as a concept, technology is a mess. In popular discourse, technology is little more than the latest digital innovations. Scholars do little better, offering up competing definitions that include everything from steelmaking to singing. In Technology: Critical History of a Concept, Eric Schatzberg explains why technology is so difficult to define by examining its three thousand year history, one shaped by persistent tensions between scholars and technical practitioners. Since the time of the ancient Greeks, scholars have tended to hold technicians in low esteem, defining technical practices as mere means toward ends defined by others. Technicians, in contrast, have repeatedly pushed back against this characterization, insisting on the dignity, creativity, and cultural worth of their work. ​The tension between scholars and technicians continued from Aristotle through Francis Bacon and into the nineteenth century. It was only in the twentieth century that modern meanings of technology arose: technology as the industrial arts, technology as applied science, and technology as technique. Schatzberg traces these three meanings to the present day, when discourse about technology has become pervasive, but confusion among the three principal meanings of technology remains common. He shows that only through a humanistic concept of technology can we understand the complex human choices embedded in our modern world.

The current study argues that different cultures can coexist better today if we focus not only on what separates them but also on what connects them. To do so, the author discusses how both Aristotle and Confucius see rhetoric as a mode of thinking that is indispensable to the human understanding of the truths of things or dao-the-way, or, how both see the human understanding of the truths of things or dao-the-way as necessarily communal, open-ended, and discursive. Based on this similarity, the author aims to develop a more nuanced understanding of differences to help foster better cross-cultural communication. In making the argument, she critically examines two stereotyped views: that Aristotle’s concept of essence or truth is too static to be relevant to the rhetorical focus on the realm of human affairs and that Confucius’ concept of dao-the-way is too decentered to be compatible with the inferential/discursive thinking. In addition, the author relies primarily on the interpretations of the Analects by two 20th-century Chinese Confucians to supplement the overreliance on renderings of the Analects in recent comparative rhetorical scholarship. The study shows that we need an in-depth understanding of both the other and the self to comprehend the relation between the two.

By introducing the reader to the main issues and themes that have determined the development of the Western linguistic tradition, an evolution of linguistic thought quickly becomes apparent. Each chapter in this accessible book contains a short extract from a `landmark' text followed by a commentary which places the text in its social and intellectual context.The authors, who consider writers from Aristotle to Caxton to Saussure, have fully revised the original edition ofthis text. Complete with two new chapters on Bishop John Wilkins and Frege, a revised preface and updated bibliography, this book will be invaluable to anyone with an interest in the History of Linguistics, or the History of Western Thought.

A scholarly exploration of Elmore Leonard—provides original essays and fresh insights on the author’s works and influence Labelled as "the closest thing America has to a national novelist," Elmore Leonard's clean and direct writing, engaging bad guys, and deadpan humor resonate with readers around the nation and throughout the world. Popular films based on his books continue to introduce new audiences to Leonard's unique way of engaging with complex themes of American culture and pop-culture history. Yet surprisingly, academic treatments of his writing are almost nonexistent. Critical Essays on Elmore Leonard is an original anthology that covers the topics, themes, literary and narrative style, and enduring influences of one of the finest crime writers in the history of the genre. This unique collection of essays explores the ways in which Leonard’s work reflects America's dynamic, ever-changing culture. Divided into two parts, the book first examines major themes and topics in Leonard's works, followed by detailed case studies of five individual works including Get Shorty and Out of Sight. Essays discuss topics such as Leonard's skill at conveying sense of place, his use of dress and appearance in his crime fiction, the influence of romantic comedies and westerns on his writing, and the concepts of moral luck, determinism, and existentialism found in his novels. Unique and thoroughly original, this book: Covers Leonard's entire career, including his early Western novels and his work in visual media Illustrates Leonard's genius at handling free indirect discourse Discusses the author's influence, legacy, and contemporary relevance in various contexts Explores Leonard's success at making himself "invisible" in his own writing Includes an insightful introduction from the book's editor Critical Essays on Elmore Leonard is an ideal resource for academics and students in the field of genre studies, especially crime fiction, and general readers with interest in the subject.