The aim of this book is to provide an account of modernist painting that follows on from the aesthetic theory of Theodor W. Adorno. It offers a materialist account of modernism with detailed discussions of modern aesthetics from Kant to Arthur Danto, Stanley Cavell, and Adorno. It discusses in detail competing accounts of modernism: Clement Greenberg, Michael Fried, Yve-Alain Bois, and Thierry de Duve; and it discusses several painters and artists in detail: Pieter de Hooch, Jackson Pollock, Robert Ryman, Cindy Sherman, and Chaim Soutine. Its central thesis is that modernist painting exemplifies a form of rationality that is an alternative to the instrumental rationality of enlightened modernity. Modernist paintings exemplify how nature and the sociality of meaning can be reconciled.

This seductive sourcebook of rare visual delights from pre-Nazi, Cabaret-period “Babylon on the Spree” has the distinction of being praised both by scholars and avatars of contemporary culture, inspiring hip club goers, filmmakers, gay historians, graphic designers, and musicians like the Dresden Dolls and Marilyn Manson. This expanded edition includes “Sex Magic and the Occult,” documenting German pagan cults and their often-bizarre erotic rituals, including instructions for entering into the “Sexual Fourth Dimension.” Mel Gordon is professor of theater at the University of California, Berkeley, and is also the author of Erik Jan Hanussen: Hitler’s Jewish Clairvoyant (Feral House).

'...a fascinating analysis of the status of the obscene and its representation in pornography in modern culture.... Caputi's thesis is masterfully argued....'-James Glass, University of Maryland

In 18th-century France, matter itself - in forms ranging from atoms to anatomies - became a privileged object of study. This book defines what is at stake in the emergence of an enlightened secular materialism by showing how questions of figure are consistently located at the very heart of 18th-century debates on the nature of material substance.

'Voluptuous' may not be a common word associated with God, but the author speaks metaphorically of God in a way that calls us to laughter, love, and joy -- voluptuousness as 'full delight' -- and invites us to worship a God of intimacy rather than a God of distance. The light yet not trivial tone of this work supports the author's basic premise that we are meant to live our humanity joyfully, thankfully, and fully from our hearts. The book is rooted in the Christian tradition but affirms that truth can also be found in other religions, spirituality, and secular practices.

A bold step forward in healthful eating, "The Voluptuous Vegan" offers more than 200 recipes that dispel the stereotypes of meatless and diary-free cuisine. It delivers luscious food everyone, not just dedicated vegans, will love.

Offering a unique vantage point from which to view black women's body image and Caribbean migration, Romance with Voluptuousness illuminates how first- and second-generation immigrant black Caribbean women engage with a thick body aesthetic while living in the United States. Using personal accounts, Romance with Voluptuousness examines the ways in which black women with heritage in the English-speaking Caribbean participate in, perpetuate, and struggle with the voluptuous beauty standard of the black Caribbean while living in the hegemony of thinness cultivated in the United States. It highlights how black Caribbean women negotiate issues of body image deriving from both Caribbean and American pressures to maintain a particular body shape and contend with discourses and practices surrounding the body that aim to marginalize and exclude them from economic, social, and political spaces. By focusing on diasporic Caribbean women's "romance" with voluptuousness, Kamille Gentles-Peart explores the transnational flow of beauty ideals and examines how ideas about beauty in the Caribbean diaspora help to shape the experiences of Caribbean black women in the United States.

This collaboration between Elisa Gabbert and Kathleen Rooney is "Just more entertaining than poems are supposed to be. And I'm not using the word "entertaining" as some kind of sly putdown either. These poems have more human interaction going on in a couple of lines than many writers manage in a couple of books. The linguistic energy and, really, virtuosity, can be stunning. These are poems that know what people are like when they're around people." -Mark Wallace

Zaftig is a Yiddish word meaning ripe or luscious, and is commonly applied to curvaceous women. This book celebrates these women principally through its many reproductions of paintings, and through quotations from those who argue for the attractiveness of zaftig women. The arguments for feminine substance are arranged the matically, and include an attack on the cult of thinness, a defense of zaftig as a natural state, an exploration of eras such as the Victorian age, in which abundance was preferred, and an examination of subcultures in which heavy women rule, as on the opera stage.