Böcker utgivna av The University of Chicago Press

"Heidegger claimed that Western philosophy ended, failed even, in the German Idealist tradition. In The Culmination, Robert B. Pippin explores the ramifications of this charge through a masterful survey of Western philosophy, especially Heidegger's critiques of Hegel and Kant. Pippin argues that Heidegger's basic concern was to determine sources of meaning for human life, particularly those that had been obscured by Western philosophy's attention to reason. The Culmination offers a new interpretation of Heidegger, German Idealism, and the fate of Western rationalism"--

A cookbook of Southern cuisine as featured at Big Jones Restaurant in Chicago, Illinois.

"In the second volume of his planned trilogy that will recast the history of the university in a fresh and surprising light, Adam R. Nelson aims to show how knowledge, which had been commodified starting in the late eighteenth century, became industrialized in the nineteenth century. Nelson explains how the idea of the modern university arose from a set of institutional and ideological reforms designed to foster the mass production and mass consumption of knowledge--that is, the industrialization of ideas. Fusing the history of higher education with the history of capitalism, Nelson suggests that this "marketization" of knowledge propelled the institutionalization of the university, far earlier than previously understood"--

"Medicine is itself a type of technology, involving therapeutic tools and substances, and so one way to write the history of medicine is as the application of different technologies to the human body. In Tools and the Organism, Colin Webster argues that, over the course of antiquity, notions shifted about what type of object a body is, what substances constitute its essential nature, and how its parts interact. By following these changes and taking the question of technology into the heart of Greek and Roman medicine, Webster reveals how the body was first conceptualized as an "organism"-a functional object whose inner parts were tools [organa] that each completed certain vital tasks. Webster's approach provides both an overarching survey of the ways that technologies impacted notions of corporeality and corporeal behaviors and, at the same time, stays attentive to the specific material details of ancient tools and how they informed assumptions about somatic structures, substances, and inner processes. For example, by turning to developments in water-delivery technologies and pneumatic tools, we see how these changing material realities altered theories of the vascular system and respiration across Classical antiquity. Tools and the Organism makes the compelling case for why telling the history of ancient Greco-Roman medical theories, from the Hippocratics to Galen, should pay close attention to the question of technology. Selling points: Tour de force survey of ancient medicine First book to demonstrate how the body got its "organs" and what this has to do with ancient technologies For anyone interested in ancient culture, science, medicine, and technology"--

"Set in a landscape of red sunsets and wildfire smoke, roadside goldenrod and toxic chemicals in the watershed, The Upstate is a collection of poems about southern Appalachia in its contemporary moment of change. Layering a personal lyric voice with an awareness of social, political, and ecological crises, Lindsay Turner redefines regional poetics as necessarily, inextricably attuned to global structures. These poems both observe and emote, mourning acts of devastation while also raging in their own quiet way against the continuation of such devastation. Arising from moments of darkness and desperation, the poems in The Upstate nevertheless affirm poetry's role under the conditions they describe. Turner's words weave spells around beloved places and people, yearning to shield such treasures from the forces that amass against them. An elegy for pastoralism in a time of disaster, The Upstate is buoyed by a restless sense of discovery and the call to chronicle a world that has all but given itself over to instability and flux"--

"Readers of Theodor Adorno often have understood him as a "totalizing negativist." If it truly is the case that Adorno saw modern society as a realm of complete falsehood, however, his own social theory is unintelligible. In A Precarious Happiness, Peter E. Gordon aims to redeem Adorno from this negativist interpretation by showing that it arises from a basic misunderstanding of his work. Pushing against entrenched interpretations, Gordon argues that Adorno's philosophy is animated by a deep attachment to a concept of happiness or human flourishing, and it is only by virtue of that normative standard that Adorno judges the world a catastrophic failure. Through a comprehensive reading of Adorno's work, A Precarious Happiness shows that in an imperfect world, the available standards of our flourishing are also imperfect. Looking beyond Adorno, Gordon suggests that the practice of social criticism, even if it is directed toward exposing what is "false," cannot succeed without appealing to an unrealized notion of what would be right"--

"This is the first English-language monograph on the early history of cartography in China. Its chief players are three maps found in tombs that date from the fourth to the second century BCE and together constitute the entire known corpus of ancient Chinese maps (ditu). A millennium separates them from the next available map from 1136 CE. Most scholars study them through the lens of modern, empirical definitions of maps and their use. This book offers an alternative view by drawing on methods not just from cartography but from art history, archaeology, and religion. It argues that, as tomb objects, the maps were designed to be simultaneously functional for the living and the dead-that each map was drawn to serve navigational purposes of guiding the living from one town to another as well as to diagram ritual order, thereby taming the unknown territory of the dead. In contrast with traditional scholarship, The Art of Terrestrial Diagrams in Early China proposes that ditu can "speak" through their forms. Departing from dominant theories of representation that forge a narrow path from form to meaning, the book braids together two main strands of argumentation to explore the multifaceted and multifunctional diagrammatic tradition of rendering space in early China"--

"Dislodging the avant-garde from its central position in the narrative of Soviet art, Collective Body presents painter Aleksandr Deineka's haptic and corporeal version of Socialist Realist figuration not as the enemy of revolutionary art, but as an alternate experimental aesthetic that, at its best, activates and organizes affective forces for collective ends. Tracing Deineka's path from his avant-garde origins as the inventor of the proletarian body in illustrations for mass magazines after the Revolution through his success as a state-sponsored painter of monumental, lyrical canvases during the Great Terror and beyond, Collective Body demonstrates that Socialist Realism is best understood not as a totalitarian style, but rather as a fiercely collective art system that organized art outside the market and formed part of the legacy of the revolutionary modernisms of the 1920s. Collective Body accounts for the way the art of the October Revolution continues to capture viewers' imaginations through the sheer intensity of its evocation of the elation of collectivity, making viewers not only comprehend but also truly feel socialism, and retaining the potential to inform our own art-into-life experiments within contemporary political art. Deineka figures in this study not as a singular master, in the spirit of a traditional monograph, but as a limited case of the system he inhabited and helped to create"--

"This book tells the story of how Germans struggled to make art an autonomous instrument of social progress in the face of real-world challenges between 1790-1850. For philosophers such as Friedrich Schiller, a work of art was governed by its own laws and soared above trivial constraints; thus, a painting or sculpture could both model and stimulate the moral autonomy of its beholders. This "aesthetic education" (to be conducted in the newish institution of museums) would yield an "aesthetic state," born of the measured reason of its citizens rather than the fractious antagonisms of mobs and tyrants. But highbrows like Schiller failed to consider the tough realities facing art "on the ground." Not only were there no proper museums in the German states for presenting art to the public, the systematic looting of their art collections during the Napoleonic wars had thrown the very ontological status of art into serious question: What was a painted altarpiece supposed to be once it had been torn out of a Church and reinstalled in a secular space? How would a marble statue of a nude Apollo impact modern viewers-especially unmarried young ladies not used to such sights? And how could a stolen object symbolize freedom? As art works fell prey to the very violence they were supposed to transcend, social theorists began to wonder how art could deliver liberation if it could so quickly end up a spoil of war. Among the specimens considered are forty porphyry columns from the tomb of Charlemagne in Aachen; the Quadriga from the Brandenburg Gate in Berlin; the Laocoèon group from Rome; a bronze medieval reliquary from Goslar; a Last Judgment from Danzig; and, last, but surely not least, the mummified body of an official from the Rhenish hamlet of Sinzig"--

"Holding a TV talk show host hostage. Staging a faux scene of gang war violence. Loitering. Surviving outdoors for a year. Crawling. Wheat-pasting posters. Occupying a traffic island. These actions served as the basis of experimental artworks, often described as "guerrilla," that were staged for unsuspecting audiences in the US during the 1970s and 1980s--a period when politicians and law enforcement framed anticolonial interventions and urban rebellions waged by "guerrilla fighters" as national security threats, and lawmakers expanded policing budgets while deepening the consequences of anti-riot, anti-loitering, and anti-poverty laws. Focusing on instances of arrest or near-arrest in performance and conceptual art by artists Chris Burden, Adrian Piper, Tehching Hsieh, Pope.L, and Jean Toche, and art groups, the Guerrilla Girls, Asco, and PESTS, Gleisser challenges long-standing misconceptions surrounding guerrilla art in American society. Rather than romanticize artists' individual agency, or treat police presence as a given, Gleisser argues that artists' tactical work exposes the racialized, sexualized, and gendered politics of risk-taking mired in the country's punitive turn. Drawing on art history, Black studies, performance studies, and prison studies, Gleisser provides close analyses of art staged in charged urban sites, revealing how artists' "risk work" negotiates differing vulnerabilities to state-sanctioned violence, and exposes the complex relationship between policing, state power, and contemporary art"--Provided by publisher.

Featuring two hundred color plates, this history of the craft of scientific inquiry is as exquisite as the experiments whose stories it shares. This illustrated history of experimental science is more than just a celebration of the ingenuity that scientists and natural philosophers have used throughout the ages to study--and to change--the world. Here we see in intricate detail experiments that have, in some way or another, exhibited elegance and beauty: in their design, their conception, and their execution. Celebrated science writer Philip Ball invites readers to marvel at and admire the craftsmanship of scientific instruments and apparatus on display, from the earliest microscopes to the giant particle colliders of today. With Ball as our expert guide, we are encouraged to think carefully about what experiments are, what they mean, and how they are used. Ranging across millennia and geographies, Beautiful Experiments demonstrates why "experiment" remains a contested notion in science, while also exploring how we came to understand the way the world functions, what it contains, and where the pursuit of that understanding has brought us today.

"The fifth and final volume of essays by Leo Steinberg is devoted to modern and contemporary art. Expertly edited by Steinberg's longtime assistant Sheila Schwartz, this collection includes essays on Câezanne, Monet, Matisse, Ernst, Hans Haacke, Jasper Johns, Jeff Koons, and, in some ways the centerpiece of the collection, Steinberg's landmark essay "Encounters with Rauschenberg." It concludes with a selection of Steinberg's lesser-known occasional humorous pieces. The collection features an introductory essay by noted scholar and curator James Meyer. As with all volumes in the Essays by Leo Steinberg series, it is lavishly illustrated throughout with works by each of the artists Steinberg analyzes"--

"Teacher, data scientist, and blogger Allen B. Downey knows well that the human mind has both an innate ability to understand statistics and to be fooled by them. Statistically speaking, you will be less popular than your friends, arrive at a train station during a gap in service, and fail to find a running mate in a race. But more than surprising us, errors in statistical thinking, Downey shows, can have a huge impact. Statistical confusion has led to incorrect patient prognoses, caused mistakes in predicting disasters like earthquakes, hurt vaccination programs, hindered social justice efforts, and led to dubious policy decisions. Written for those who may have once taken a statistics course, but now forget almost everything they've learned, the book includes a diversity of examples that use real data and have real world impacts. Building understanding incrementally, Downey engagingly and accessibly helps readers understand what we might learn when we get the mathematics right, and the consequences when we get it all wrong"--

"When Paul Ricoeur died in 2005, the New York Times described him as "one of the most eminent philosophers of the twentieth century." In his lifetime, Ricoeur published influential works on language, memory, identity, and history, creating an innovative blend of hermeneutics and phenomenology. Despite his major interest in the imagination, however, he never wrote a complete text on the topic. The present volume, Lectures on Imagination, fills this gap, providing an indispensable resource for philosophically inclined readers from all backgrounds. Over the course of these lectures, Ricoeur examines classical and contemporary philosophical theories of imagination, ranging from thinkers such as Aristotle, Pascal, Spinoza, Hume, and Kant to Husserl, Wittgenstein, Sartre, and Ryle. He argues that, with few exceptions, Western philosophy has focused on reproductive rather than productive imagination, thus diminishing the creative capacity of the human mind. For Ricoeur, productive imagination is a form of fiction-a new dimension of reality generated by the human mind. His theory has far-reaching implications. In all domains, we are not restricted by existing structures or institutions, because the productive imagination has the power to break through and transform our sense of our own horizons"--

"On May 27, 1978, Michel Foucault gave a lecture to the French Society of Philosophy where he redefines his entire philosophical project in light of Immanuel Kant's 1784 text, "What Is Enlightenment?" Foucault strikingly characterizes critique as the political and moral attitude consisting in the "art of not being governed in this particular way," one that performs the function of destabilizing power relations and creating the space for a new formation of the self within the "politics of truth." This volume presents the first critical edition of this crucial lecture alongside a previously unpublished lecture about the culture of the self and three public debates with Foucault at the University of California, Berkeley in April 1983. There, for the first time, Foucault establishes a direct connection between his reflections on Enlightenment and his analyses of Greco-Roman antiquity. However, far from suggesting a return to the ancient culture of the self, Foucault invites his audience to build a "new ethics" that bypasses the traditional references to religion, law, and science"--

"Many pet dogs are experiencing anxiety and frustration as they struggle to adapt to human home environments--despite being pampered, poofed, and petted, or perhaps in part because of this. We can do better for them. Who's a Good Dog challenges us to think more carefully about the limits we place on their inherited, deep-rooted behaviors. Bioethicist Jessica Pierce explores common practices of caring for, socializing, and training pet dogs. She asks broader ethical questions and helps us think more critically about what we expect of our dogs. She offers resources to help readers cultivate kindness and more mindful attentiveness. This work is about the art of noticing, of astonishment, of looking with fresh eyes (and noses!) at these dear beings we think we know. Pierce avoids judgement while taking a clear stance on important issues, connecting her research to her relationship with Bella, the dog in her life"--

A biography of Ralph Vaughan Williams, published in collaboration with the Bard Music Festival. Ralph Vaughan Williams (1872-1958) was one of the most innovative and creative figures in twentieth-century music, whose symphonies stand alongside those of Sibelius, Nielsen, Shostakovich, and Roussel. After his death, shifting priorities in the music world led to a period of critical neglect. What could not have been foreseen is that by the second decade of the twenty-first century, a handful of Vaughan Williams's scores would attain immense popularity worldwide. Yet the present renown of these pieces has led to misapprehension about the nature of Vaughan Williams's cultural nationalism and a distorted view of his international cultural and musical significance. Vaughan Williams and His World traces the composer's stylistic and aesthetic development in a broadly chronological fashion, reappraising Vaughan Williams's music composed during and after the Second World War and affirming his status as an artist whose leftist political convictions pervaded his life and music. This volume reclaims Vaughan Williams's deeply held progressive ethical and democratic convictions while celebrating his achievements as a composer.

"In absolute animal, Rachel DeWoskin ponders the big questions: our fragile mortality, the passage of time, the mutability of memory. Conceived in the shadow of the pandemic, with death, loss, and absent family and friends surfacing throughout, the poems nonetheless cling fiercely to life, tenaciously finding a way forward, managing to exist in the details of everyday necessity. The poems "live," as it were, in an extraordinary "now," a kind of eternal present that lyric poetry can afford, resisting the impulse to succumb to human frailty and the inevitable conclusion of life-despite the devastation of COVID-19. The poems shuttle deftly between recognizable and experimental forms, even as they tack thematically between some of the most pressing issues of our time: the secret lives of (other) animals that share our planet, women's rights/bodies, and the hubris of our species as we mismanage the planet and ourselves. The poems artfully balance the way COVID has dramatically, irrevocably altered the way we go about our days and relationships, and the need for resiliency to sustain ourselves and our loved ones. The book ends where it begins, with the poet's contemplating geological time, how vastly differently certain creatures and scales measure and mark time's duration and passing: from the amount of time it takes for an oyster to produce a pearl, for example, a kind of self-contained eternity in itself (as in the last poem in the collection), to the glacial pace of the poem "anthrosphere," depicting the unhurried, natural world around us that opens the book. The poet-and her family, friends, and acquaintances, and, by extension, her species-are but a blink of the earth's eye, a mere blip in the vast stretches of cosmic time, an eternity"--

"In September 1838, a twenty-five-year-old tutor at Harvard named Jones Very stood before his beginning Greek class and proclaimed himself the Second Coming. Relieved of his teaching duties, Very spent the next two years writing more than four hundred sonnets, all of which he claimed were delivered to him, as though through dictation, by the Holy Spirit. He was examined by the dean of romantic Unitarianism, William Ellery Channing, and strove to "convert" Nathaniel Hawthorne and several luminaries of the Transcendentalist movement, including Ralph Waldo Emerson. Many were moved by Very's obsessed presence and by the quiet, controlled poetry that spilled forth during his season of spiritual ecstasy. God's Scrivener: The Madness and Meaning of Jones Very is a comprehensive literary biography of this mystic poet of Transcendentalism, the first fully researched reconsideration of an unusual but important figure in American literature in over fifty years. Born into the same recalcitrant Salem that produced Hawthorne, Very overcame repeated tragedies and a questionable family reputation to become a star student at Harvard. But after he graduated, he pursued a revolutionary regimen to give up all trace of personal will and transform himself, anticipating the most famous passage in Emerson's Nature, into "part or particle of God." Clark Davis's masterful biography shows how Very came to embody both the full radicalism of Emerson's vision, exposing the trap of isolation, and the emptiness that lay in wait for those who sought complete transcendence"--

This biography of "African explorer" Richard Dorsey Mohun, written by one of his descendants, reveals how American greed and state power helped shape the new imperial order in Africa. Richard Dorsey Mohun spent his career circulating among the eastern United States, the cities and courts of Europe, and the African continent, as he served the US State Department at some points and King Leopold of Belgium at others. A freelance imperialist, he implemented the schemes of American investors and the Congo Free State alike. Without men like him, Africa's history might have unfolded very differently. How did an ordinary son of a Washington bookseller become the agent of American corporate greed and European imperial ambition? Why did he choose to act in ways that ranged from thoughtless and amoral to criminal and unforgivable? With unblinking clarity and precision, historian Arwen P. Mohun interrogates the life and actions of her great-grandfather in American Imperialist. She seeks not to excuse the man known as Dorsey but to understand how individual ambition and imperial lust fueled each other, to catastrophic ends. Ultimately, she offers a nuanced portrait of how her great-grandfather's pursuit of career success and financial security for his family came at a tragic cost to countless Africans.

"In Hospitality, Volume I, Jacques Derrida continues a seminar series he inaugurated in 1991 under the general title of "Questions of Responsibility." Delivered at the âEcole des Hautes âEtudes en Sciences Sociales (EHESS) in Paris from November 1995 through June 1996, the seminar is guided by questions that focus on responsibility and "the foreigner": How is the foreigner welcomed and/or repressed? What does the notion of the foreigner reveal about kinship, ethnicity, the city, the state, and the nation? What are the stakes of the opposition between friend and enemy? How should we think of this in relation to borders, citizenship, displaced populations, immigration, exile, asylum, integration, assimilation, xenophobia, and racism? Derrida approaches these questions through readings of several classical texts as well as more modern texts from Heidegger, Arendt, and Camus, among others. Central to his project is a rigorous distinction between conventional hospitality (always finite and conditional) and the idea of a hospitality open unconditionally to the newcomer"--

"Honor and Respect is the definitive guide to first impressions. For any personal or professional situation where formality is of the essence and proper decorum is the expectation, this book offers critical information on how to address, introduce, and communicate with officials, functionaries, and dignitaries from all walks of life and over 180 countries. From presidents to pastors, ambassadors to attorneys general to your local alderperson, Honor and Respect offers clear explanations and examples of the official honorifics of thousands of federal, state, and municipal officials; corporate executives; clergy; tribal officials; and members of the armed services in the United States, Australia, Canada, and the United Kingdom. It also includes titles and guidance on addressing high officials from more than 180 countries. Painstakingly researched and carefully vetted, the book's contents are indispensable for individuals or offices working in government, foreign affairs, diplomacy, law, the military, training and consulting, and public relations, among others. This updated third edition reflects the nuanced changes in language, protocol, and conventions that have been implemented by the State Department, Armed Forces, and myriad other government offices in the US and beyond"--