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This modern classic by one of our leading scholars seeks to explain the values prevalent in today's mass culture by tracing them back to their roots in the Victorian era. As religion lost its hold on the public mind, clergymen and educated women, powerless and insignificant in the society of the time, together exerted a profound effect on the only areas open to their influence: the arts and literature. Women wrote books that idealized the very qualities that kept them powerless: timidity, piety, and a disdain for competition. Sentimental values that permeated popular literature continue to influence modern culture, preoccupied as it is with glamour, banal melodrama, and mindless consumption. This new paperback edition, with a new Preface, will reach yet more readers with its persuasive and provocative theory. Richard Bernstein of The New York Times said: "Her remarkable scholarship is going to set the standard for a long time to come."

Central to the repertoire of Western art music since the 1700s, the symphony has come to be regarded as one of the ultimate compositional challenges. In his series The Symphonic Repertoire, the late A. Peter Brown explored the symphony in Europe from its origins into the 20th century. In Volume V, Brown's former students and colleagues continue his vision by turning to the symphony in the Western Hemisphere. It examines the work of numerous symphonists active from the early 1800s to the present day and the unique challenges they faced in contributing to the European symphonic tradition. The research adds to an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. This much-anticipated fifth volume of The Symphonic Repertoire: The Symphony in the Americas offers a user-friendly, comprehensive history of the symphony genre in the United States and Latin America.

First printed in 1970, Natural Symbols is Douglas' most controversial work. It represents a work of anthropology in its widest sense, exploring themes such as the social meaning of natural symbols and the image of the body in society. This work focuses on the ways in which cultures select natural symbols from the body and how every natural symbol carries a social meaning. She also introduces her grid/group theory, which she sees as a way of keeping together what the social sciences divide and separate. Bringing anthropology in to the realm of religion, Douglas enters into the ongoing debate in religious circles surrounding meaning and ritual. The book not only provides a clear explanation to four distinct attitudes to religion, but also defends hierarchical forms of religious organization and attempts to retain a balanced judgement between fundamentalism and established religion. Douglas has since extensively refined the grid/group theory and has applied it to consumer behaviour, labour movements and political parties.

This classic text represents a work of anthropology in the widest sense, exploring themes such as the social meaning of natural symbols and the image of the body in society. With a new, and highly topical introduction.

A poet takes another's text, excises this, prints over that, cancels, erases, rearranges, defaces-and generally renders the original unreadable, at least in its original terms. What twentieth-century writers and artists have meant by such appropriations and violations, and how the "illegible" results are to be read, is the subject Craig Dworkin takes up in this ambitious work. Reading the Illegible explores such formal and structural manipulations in a wide range of exemplary cases: John Cage's and Jackson MacLow's practices of "writing-through" other texts; the intentional "cancellations" of text by book artist Ken Campbell and conceptual artist Marcel Broodthaers; Susan Howe's experiments in typography and cultural transmission; visual complexity in Charles Bernstein, Stan Brakhage, and Rosemarie Waldrop; the "sedimentary" texts of post-minimalist artist Robert Smithson and poets Steve McCaffery and Christopher Dewdney ; the tactics of erasure employed by the poet Ronald Johnson and book artist Tom Phillips. In his scrutiny of these works, and with reference to a rich variety of contextual materials--from popular and scientific texts to visual artworks, political and cultural theories, and experimental films-Dworkin proposes a new way of apprehending the radical formalism of such unreadable texts. His method seeks to unveil what Dworkin describes as "the politics of the poem"-what is signified by its form, enacted by its structures, implicit in the philosophy of language, how it positions its reader, and other questions relating to the poem as material object. In doing so, he exposes the mechanics and function of truly radical formalism as a practice that moves beyond aesthetic considerations into the realm of politics and ideology. Thus this book asks us to reconsider poetry as a physical act, and helps us to see how the range of a text's linguistic and political maneuvers depends to a great extent on the material conditions of reading and writing as well as on the mechanics of reproduction.

This text offers an authoritative historiography of German socialist theorist Karl Kautsky and his impact on debates about the Russian Revolution and the contemporary left. Known as the “Pope of Marxism,” Douglas Greene examines the totality of Kautsky’s political career and dissects the fundamental opportunism and passive radicalism that defined his Marxism. He later examines the most substantive Marxist critics of Kautsky, namely Rosa Luxemburg, V. I. Lenin, and Leon Trotsky, while offering a critical assessment of the work produced by scholars and activists, Lars Lih, Eric Blanc, and Mike Mcnair, seeking to revive Kautsky. The New Reformism and the Revival of Karl Kautsky is an important addition to scholarship on the subject and a valuable resource for those interested in the Russian Revolution, German politics, socialism, Marxism, and contemporary left-wing debates.

In Part II of his trilogy, The Structure of Destruction - Douglas Messerli's study of evil in the 20th century - the mysterious Claude Ricochet makes an appearance once again, this time as the original author of a history of the French wartime Robert-Croset families, upon which The Walls Come True is based. In Messerli's hands, however, Ricochet's original "philosophical-historical murder mystery" becomes a large, sprawling theatrical work incorporating film, video, mime, dance, theater and the literary techniques of poetry, fable, fiction, and song. Like Along Without, the first volume of the trilogy in which Messerli "restored" Ricochet's film Sans longtemps, The Walls Come True recounts the horrific effects of the 20th century upon individuals and their families and friends. This work retells the story of the Robert-Croset families in their travels throughout Vichy-run France in World War II, as the family falls into decline and the son is sold - for his safety, since he, unknowingly, is Jewish - to noted pederast, Jean Croset, a Paris judge. The final act of this three-hour "opera" traces the boy, years later, taking his revenge on the human race in New York, a revenge which ends in his own tragic death at the hands of a tramp whom he mistakes (?) for the detective who has been following him for years.