Early British Romanticism as it developed in relationship to the French Revolution is introduced, then compared to the Frankfurt School as it arose in response to Communist revolution and French Post-Structuralism as it took shape in the 1960s.

This book explores the reception of Max Horkheimer and Theodor W. Adorno’s Dialectic of Enlightenment. It examines a variety of perspectives on the text, supplied by e.g. American critical theorists, British New Leftists, Transatlantic Cultural Studies scholars, Postmodernists, and those working in the current after-theory moment from 1970 to 2010. It considers the works of the Frankfurt School, especially Horkheimer and Adorno, alongside the secondary literature on the subject. The main focus is on how various intellectual circles and trends have responded to the Dialectic, making scholarly discussions the primary sources. While the work is a history of the Dialectic of Enlightenment’s Anglophone reception, it also reflects the post-1968 left’s retreat to academia, which echoes the Frankfurt School’s own stance of political resignation.

The French revolts of May 1968, the largest general strike in twentieth-century Europe, were among the most famous and colourful episodes of the twentieth century. Julian Bourg argues that during the subsequent decade the revolts led to a remarkable paradigm shift in French thought - the concern for revolution in the 1960s was transformed into a fascination with ethics. Challenging the prevalent view that the 1960s did not have any lasting effect, From Revolution to Ethics demonstrates that intellectuals and activists turned to ethics as the touchstone for understanding interpersonal, institutional, and political dilemmas. In absorbing and scrupulously researched detail Bourg explores the developing ethical fascination as it emerged among student Maoists courting terrorism, anti-psychiatric celebrations of madness, feminists mobilizing against rape, and pundits and philosophers championing human rights. Based on newly accessible archival sources and over fifty interviews with men and women who participated in the events of the era, From Revolution to Ethics provides a compelling picture of how May 1968 helped make ethics a compass for navigating contemporary global experience.

Amorous Aesthetics traces the development of intellectual love from its first major expression in Baruch Spinoza’s Ethics, through its adoption and adaptation in eighteenth-century moral and natural philosophy, to its emergence as a Romantic tradition in the work of six major poets.

Unlike contemporary literary-linguistic configurations of genre, current methodologies for the study of the Gospel genre are designed only to target genre similarities not genre differences. This basic oversight results in the convoluted discussion we witness in Lukan genre study today. Each recent treatment of the genre of Luke-Acts represents a distinct effort to draw parallels between Luke-Acts and a specific (or multiple) literary tradition(s). These studies all underestimate the role of literary divergence in genre analysis, leveraging much—if not, all—of their case on literary proximity. This monograph will show how attention to literary divergence from a number of angles may bring resolution to the increasingly complex discussions of the genre(s) of Luke-Acts.

Agitation with a Smile offers a reappraisal of Howard Zinn's political thought and situates his efforts in a contemporary context, looking toward the nature of activism and dissent in the future. This is the first book to provide a substantive account and assessment of Zinn's philosophy and approach to collective action and, to a larger extent, democracy. The contributors to this book explore the most effective mechanisms by which to arouse public support for seemingly radical positions and how current technological advancements may alter our perception of Zinn's activism. The book is a valuable guide to a new generation of activists and scholars of politics in gauging the lasting relevance and legacy of Zinn's ideals, concepts, and methodology. The text is neither fawning nor unduly critical, unlike many discussions of Zinn in popular culture. Rather, the contributors engage the various complexities and tensions present throughout Zinn's work and subject them to contemporary assessment. This is a multidisciplinary and international approach to Howard Zinn's intellectual and activist canon.

European Film Theory and Cinema explores the major film theories and movements within European cinema since the early 1900s. An original and critically astute study, it considers film theory within the context of the intellectual climate of the last two centuries. Ian Aitkin focuses particularly on the two major traditions that dominate European film theory and cinema: the "intuitionist modernist and realist" tradition and the "post-Saussurian" tradition. The first originates in a philosophical lineage that encompasses German idealist philosophy, romanticism, phenomenology, and the Frankfurt School. Early intuitionist modernist film culture and later theories and practices of cinematic realism are shown to be part of one continuous tradition. The post-Saussurian tradition includes semiotics, structuralism, and post-structuralism.