In this profound book, Elias characteristically turns an ancient philosophical question - what is time? - into a researchable theoretical-empirical problem. What we call 'time' is neither an innate property of the human mind nor an immutable quality of the 'external' world. Rather it is an achievement of the human capacity for 'synthesis', for using symbolic thought to make connections between two or more sequences of events. In the course of human social development, that capacity has itself changed and developed. It is originally written in English. Two later additional sections have been translated by Edmund Jephcott.

Time, as we experience it, is a social and cultural phenomenon. The pioneering study of the social representation of time was by Henri Hubert (1872-1927). Hubert was a core member of the group who worked with Émile Durkheim and a close collaborator with Marcel Mauss. His essay on time is a good example of the group's originality and intellectually creative "collective ferment." This is its first English translation, and includes its review by Mauss.

The Images of Time presents a philosophical investigation of the nature of time and the mind's ways of representing it. Robin Le Poidevin examines how we perceive time and change, the means by which memory links us with the past, the attempt to represent change and movement in art, and the nature of fictional time. These apparently disparate questions all concern the ways in which we represent aspects of time, in thought, experience, art and fiction. They also raisefundamental problems for our philosophical understanding, both of mental representation, and of the nature of time itself.Le Poidevin brings together issues in philosophy, psychology, aesthetics, and literary theory in examining the mechanisms underlying our representation of time in various media, and brings these to bear on metaphysical debates over the real nature of time. These debates concern which aspects of time are genuinely part of time's intrinsic nature, and which, in some sense, are mind-dependent.Arguably, the most important debate concerns time's passage: does time pass in reality, or is the division of events into past, present, and future simply a reflection of our temporal perspective - a result of the interaction between a 'static' world and minds capable of representing it? Le Poidevin argues that, contrary to what perception and memory lead us to suppose, time does not really pass, and this surprising conclusion can be reconciled with the characteristic features of temporalexperience.

Thisness Presentism outlines and defends a novel version of presentism, the view that only present entities exist and what is present really changes, a view of time that captures a real and objective difference between what is past, present, and future, and which offers a model of reality that is dynamic and mutable, rather than static and immutable. The book advances a new defence of presentism by developing a novel ontology of thisness, combining insights about the nature of essence, the metaphysics of propositions, and the relationship between true propositions and the elements of reality that make them true, alongside insights about time itself. It shows how, by accepting an ontology of thisness, presentists can respond to a number of pressing challenges to presentism, including claims that presentism cannot account for true propositions about the past, and that it is inconsistent with the reality of temporal passage and the openness of the future. This is one of the only book-length defences of presentism. It will be of interest to students and scholars working on the debate about presentism in the philosophy of time, as well as those interested in the metaphysics of propositions and truth-making, more generally.

Presents David Foster Wallace critiques philosopher Richard Taylor's work implying that humans have no control over the future and includes essays linking Wallace's critique with his later works of fiction.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

Poetry. Essays. Much admired by her contemporaries for her experiments in poetic form, Kristin Prevallet now turns those gifts to the most vulnerable moments of her own life, and in doing so, has produced a testament that is both disconsolate and powerful. Meditating on her father's unexplained suicide, Prevallet alternates between the clinical language of the crime report and the lyricism of the elegy. Throughout, she offers a defiant refusal of east consolations or redemptions. Driven by "the need to extend beyond the personal and out the toward the intolerable present," Prevallet brings herself and her readers to the chilling but transcendent place where, as she promises, "darkness has its own resolutions." According to Fanny Howe, here elegy and essay "converge and there is left a beautiful sense of the poetic itself as all that is left to comfort a person facing a catastrophic loss." "This is the quietest and most intimate book by one of our best poets"--Forest Gander.

The wise and witty guide to researching and writing a thesis, by the bestselling author of The Name of the Rose—now published in English for the first time. Learn the art of the thesis from a giant of Italian literature and philosophy—from choosing a topic to organizing a work schedule to writing the final draft. By the time Umberto Eco published his best-selling novel The Name of the Rose, he was one of Italy’s most celebrated intellectuals, a distinguished academic, and the author of influential works on semiotics. Some years before that, Eco published a little book for his students, in which he offered useful advice on all the steps involved in researching and writing a thesis. Since then, it has been translated into 17 languages—and is now for the first time presented in English. Eco’s approach is anything but dry and academic. He not only offers practical advice but also considers larger questions about the value of the thesis-writing exercise in six different parts: • The Definition and Purpose of a Thesis • Choosing the Topic • Conducting the Research • The Work Plan and the Index Cards • Writing the Thesis • The Final Draft Eco advises students how to avoid “thesis neurosis” and he answers the important question “Must You Read Books?” He reminds students “You are not Proust” and “Write everything that comes into your head, but only in the first draft.” Of course, there was no Internet in 1977, but Eco’s index card research system offers important lessons about critical thinking and information curating for students of today who may be burdened by Big Data. Irreverent and often hilarious, How to Write a Thesis is unlike any other writing manual and belongs on the bookshelves of students, teachers, writers, and Eco fans everywhere.