The French Revolution proclaimed the equality of all human beings, yet women remained less than equal in the new society. The exclusion of women at the birth of modern democracy required considerable justification, and by tracing the course of this reasoning through early nineteenth-century texts, Genevieve Fraisse maps a moment of crisis in the history of sexual difference. Through an analysis of literary, religious, legal, philosophical, and medical texts, Fraisse links a range of positions on women's proper role in society to specific historical and rhetorical circumstances. She shows how the Revolution marked a sharp break in the way women were represented in language, as traditional bantering about the "war of the sexes" gave way to serious discussions of the political and social meanings of sexual difference. Following this discussion on three different planes—the economical, the political, and the biological—Fraisse looks at the exclusion of women against the backdrop of democracy's inevitable lie: the affirmation of an equality so abstract it was impossible to concretely apply. This study of the place of sexual equality in the founding moment of democracy offers insight into a persistent question: whether female emancipation is to be found through the achievement of equality with men or in the celebration of female difference.

No detailed description available for "Reasons of State".

Originally published in 1971. The purpose of this book is to draw attention to important aspects of thought in the nineteenth century. While its central concerns lie within the philosophic tradition, materials drawn from the social sciences and elsewhere provide important illustrations of the intellectual movements that the author attempts to trace. This book aims at examining philosophic modes of thought as well as sifting presuppositions held in common by a diverse group of thinkers whose antecedents and whose intentions often had little in common. After a preliminary tracing of the main strands of continuity within philosophy itself, the author concentrates on how, out of diverse and disparate sources, certain common beliefs and attitudes regarding history, man, and reason came to pervade a great deal of nineteenth-century thought. Geographically, this book focuses on English, French, and German thought. Mandelbaum believes that views regarding history and man and reason pose problems for philosophy, and he offers critical discussions of some of those problems at the conclusions of parts 2, 3, and 4.

Lorna Goodison's first poetry collection to be published in Canada in over nine years, Mother Muse heralds the return of a major voice. The poems in Goodison's new book move boldly and range widely; here are praise songs alongside laments; autobiography shares pages with the collective past. In her exquisitely lyrical evocations of Jamaican lore and tradition, Goodison has always shown another side of history. While celebrating a wide cross-section of women--from Mahalia Jackson to Sandra Bland--Mother Muse focuses on two under-regarded "mothers" in Jamaican music: Sister Mary Ignatius, who nurtured many of Jamaica's most gifted musicians, and celebrated dancer Anita "Margarita" Mahfood. These important figures lead a collection of formidable scope and intelligence, one that seamlessly blends the personal and the political.

A beautifully designed introduction to art history by way of artworks that feature the mouse—from the ancient world to drawings by Picasso, Disney, and Art Spiegelman. Across centuries and civilizations, artists have used the mouse—the planet’s most common mammal after us—to illustrate our myths and beliefs. Mice have appeared as Japanese symbols of good luck or medieval emblems of evil, in Arab fables, Russian political satire and Nazi propaganda, as scientific tools and to help us challenge the way we see nature. With more than 80 rarely reproduced works—including paintings by Hieronymus Bosch and Gustav Klimt, a silkscreen by Andy Warhol, a print by Hokusai, a photograph by André Kertész, a sculpture by Claes Oldenburg, a video installation by Bruce Nauman, a performance by Joseph Beuys, and many more—Lorna Owen has created an engaging presentation of an extraordinary range. The pieces, which represent every period of visual art, are accompanied by Owen’s intriguing text about the story behind each work. She has combined her passion for art and her empathy for the unsung archetype of the animal kingdom to explain not only how or why the artist came to use the mouse as a subject, but how the art, in the end, reveals more about us than it could ever reveal about this humble creature.

From the publisher of Farrar, Straus and Giroux: a first novel, at once hilarious and tender, about the decades-long rivalry between two publishing lions, and the iconic, alluring writer who has obsessed them both. Paul Dukach is heir apparent at Purcell & Stern, one of the last independent publishing houses in New York, whose shabby offices on Union Square belie the treasures on its list. Working with his boss, the flamboyant Homer Stern, Paul learns the ins and outs of the book trade—how to work an agent over lunch; how to swim with the literary sharks at the Frankfurt Book Fair; and, most important, how to nurse the fragile egos of the dazzling, volatile authors he adores. But Paul’s deepest admiration has always been reserved for one writer: poet Ida Perkins, whose audacious verse and notorious private life have shaped America’s contemporary literary landscape, and whose longtime publisher—also her cousin and erstwhile lover—happens to be Homer’s biggest rival. And when Paul at last has the chance to meet Ida at her Venetian palazzo, she entrusts him with her greatest secret—one that will change all of their lives forever. Studded with juicy details only a quintessential insider could know, written with both satiric verve and openhearted nostalgia, Muse is a brilliant, haunting book about the beguiling interplay between life and art, and the eternal romance of literature.

The saving message of the Gospel is the heartbeat of this preacher and evangelist. Millions around the world heard Billy Graham proclaim this unchanging truth. He never forgot the transformation of his own life, when he first said yes to God’s gift of salvation, and he witnessed multitudes turn their hearts to the God of Hope. What is the most hopeful word in History? For Billy Graham, that word is SALVATION. Billy Graham proclaimed God's Gospel with resolve and deep compassion. It is a message he preached for more than seventy years. And in this book you will sense its urgency, filled with hope for the future. Salvation is what we all long for, when we are lost or in danger or have made a mess of our lives. And salvation belongs to us, when we reach out for the only One who can rescue us—Jesus. The Reason for My Hope: Salvation presents the essence of that transformative message. It is biblical and timeless, and though simple and direct, it is far from easy. There are hard words, prophetic words, directed toward a culture that denies the reality of sin and distracts us from the veracity of Hell. But through its ominous warnings shines a light that cannot be extinguished—a beacon of hope that Jesus came “to seek and to save that which was lost” (Luke 19:10).

Includes the decisions of the Supreme Courts of Alabama, Florida, Louisiana, and Mississippi, the Appellate Courts of Alabama and, Sept. 1928/Jan. 1929-Jan./Mar. 1941, the Courts of Appeal of Louisiana.

In Vergil's Empire, Eve Adler offers an exciting new interpretation of the political thought of Vergil's Aeneid. Adler argues that in this epic poem, Vergil presents the theoretical foundations of a new political order, one that resolves the conflict between scientific enlightenment and ancestral religion that permeated the ancient world. The work concentrates on Vergil's response to the physics, psychology, and political implications of Lucretius' Epicurean doctrine expressed in De Rerum Natura. Proceeding by a close analysis of the Aeneid, Adler examines Vergil's critique of Carthage as a model of universal enlightenment, his positive doctrine of Rome as a model of universal religion, and his criticism of the heroism of Achilles, Odysseus, and Epicurus in favor of the heroism of Aeneas. Beautifully written and clearly argued, Vergil's Empire will be of great value to all interested in the classical world.

The classical conception of reason (or logos) has been repeatedly attacked in the modern era. Its enemies range from Descartes, who complains that logos is not sufficiently useful or precise, to Derrida who hopes to liberate Western thought from its bondage to "logocentrism." At least since the time of Nietzsche, Plato has been damned as the chief architect of the classical conception of logos. He is accused of overvaluing reason and thereby devaluing the other, more human aspects of life. As it was originally formulated in Nietzsche’s The Birth of Tragedy, Plato has been taken to be the arch-enemy of tragedy, which for Nietzsche was the most life-affirming of all the art forms of Greek culture. Originally published in 1990, The Tragedy of Reason defends Plato against his accusers. Employing a mode of exposition which exhibits Plato’s position, Roochnik presents the Platonic conception of logos in confrontation with texts by Homer, Hesiod, Heraclitus, Aristotle, Descartes, Porty, and Derrida. In clear language, unencumbered by technical terminology, Roochnik shows that Platonic conception of logos is keenly aware of the strength of its opponents. The result is a presentation of Plato as a "tragic philosopher" whose conception of logos is characterized by an affirmation of its own limits as well as its goodness.