- Anarchist Theory
- Liberation Theory
- Animal Rights
- People’s History
- Migration Studies
- Stoic virtue ethics (Matthew Sharpe)
- Theory and Practice in Hellenistic Ethics (Nussbaum)
- Anarchism: Ethics and Meta-Ethics (Benjamin Franks)
- Can Franks’ Practical Anarchism Avoid Moral Relativism? by Thomas Swann
- Virtue and Utopia (Andy Blunden)
- Super fantabulistic introductions to virtue and existentialist ethics here
- Martha C Nussbaum – Therapy of Desire: Theory and Practice in Hellenistic Ethics and The Fragility of Goodness Luck and Ethics in Greek Tragedy and Philosophy
- Andrew Fiala – Tolerance And The Ethical Life
- On Goodness and Normativity (Judith Jarvis Thomson)
- A Defense of Abortion (Judith Jarvis Thomson)
- Kant and the Constitutional Model (Christine Korsgaard)
- The Nature and Importance of Rights (Tom Regan)
- Colonizing England and the Naming of Animals (Corey Lee Wrenn)
- Course Notes on Kant (Daniel Kaufman)
- Groundwork for the Metaphysic of Morals (Immanuel Kant)
- Intuition and Morals (Daniel A. Kaufman)
- The Right and the Good (W.D. Ross.)
- How to Make Good Decisions and Be Right All the Time (Ian King)
- Scott Alexander on the distinction between axiology and morality
- Course Notes on Anscombe (Daniel Kaufman)
- Course Notes on H.A. Prichard. (Kaufman)
- Ethics, Criteria, and Moral “Thickness” (Daniel Kaufman)
- Of the Standard of Taste by David Hume (1909)
- Hegel – Lectures on the Philosophy of History
- Wittgenstein – A Wittgensteinian Way with Paradoxes
- Stirner and the Politics of the Ego (Saul Newman)
- The Scientific Image of Man
- Ethical Nihilism / Moral Skepticism / Existentialism / Speculative Realism
- Agamben Homo Sacer animatic (Tommie Soro video)
- Optimistic Nihilism (Kurzgesagt video)
- ‘Nailing Descartes to the wall’: Animal Rights, Veganism and Punk Culture,” by Will Boisseau and Jim Donaghey
- Disturbing Places of Inter-Species Violence That Are Hidden in Plain Sight
- The problem of not-knowing, or knot-knowing (Cori Wong)
- Beyond Free and Equal: Subalternity and the Limits of Liberal-Democracy
- Contemporary Anarchism, Animal Liberation and the Implications of New Philosophy by Aragorn Eloff
- The Ethics of Post-Anarchism by Saul Newman
- Peter Harvey – An Introduction to Buddhism Teachings, History and Practices and The Selfless Mind Personality: Consciousness and Nirvana in Early Buddhism
- Montaigne – Essays
- Kafka – The Trial
- Camus – The Rebel
- Beauvoir – The Ethics of Ambiguity,
- Butler – Precarious Life: The Powers of Mourning and Violence
- Bauman – Modernity and it’s Outcasts
Fighting For Ourselves, After Post-Anarchism, Anarchy after Leftism, Anarchism and the Advent of Paris Dada, Granny Made me an Anarchist, Sing A Battle Song, Action Directe, Zapatista Spring, Clandestines; The pirate Journals of an Irish Exile, Days of War Nights of Love, The Temporary Autonomous Zone,
Post-Anarchism A Reader
Duane Rousselle (editor), Süreyyya Evren (editor), Andrew M. Koch, Todd May, Saul Newman, Hakim Bey, Tadzio Mueller, Richard J. F. Day, Jason Adams, Antón Fernández de Rota, Sandra Jeppesen, Allan Antliff, Benjamin Franks, Lewis Call, Jamie Heckert, Hilto
Black Girl Dangerous, There is No Word For It, Feminist Identity Development and Activism in Revolutionary Movements, Fire With Fire, Ecofeminist Philosophy,
The Summer We Got Free
Catherine Redfern, Kristin Aune
Making A Killing: The Political Economy of Animal Rights
Douglas K. Candland
Virginia DeJohn Anderson
A People’s History of the Second World War: Resistance Versus Empire, Dracula’s Crypt: Irisness, Bram Stoker, and the question of blood, ‘Nothing But The Same Old Story – The Roots of Anti-Irish Racism’, The Good Old Days; The Holocaust as seen by it’s perpertrators and bystanders,
The Wretched of the Earth
Frantz Fanon (Author), Constance Farrington (trans.), Jean-Paul Satre (Preface)
Frantz Fanon’s seminal work on the trauma of colonization made him the leading anti-colonialist thinker of the twentieth century. Written at the height of the Algerian war for independence from French colonial rule and first published in 1961, it analyses the role of class, race, national culture and violence in the struggle for freedom. Fanon, himself a psychotherapist, makes clear the economic and psychological degradation inflicted by imperialism. Showing how decolonization must be combined with building a national culture, this passionate analysis of relations between the West and the Third World is still illuminating about the world today.
Anne Frank: The diary of a young girl – the definitive edition
The diary as Anne Frank wrote it. At last, in a new translation, this definitive edition contains entries about Anne’s burgeoning sexuality and confrontations with her mother that were cut from previous editions. Anne Frank’s The Diary of a Young Girl is among the most enduring documents of the twentieth century. Since its publication in 1947, it has been a beloved and deeply admired monument to the indestructible nature of the human spirit, read by millions of people and translated into more than fifty-five languages. Doubleday, which published the first English translation of the diary in 1952, now offers a new… translation that captures Anne’s youthful spirit and restores the original material omitted by Anne’s father, Otto — approximately thirty percent of the diary. The elder Frank excised details about Anne’s emerging sexuality, and about the often-stormy relations between Anne and her mother. Anne Frank and her family, fleeing the horrors of Nazi occupation forces, hid in the back of an Amsterdam office building for two years. This is Anne’s record of that time. She was thirteen when the family went into the “Secret Annex,” and in these pages, she grows to be a young woman and proves to be an insightful observer of human nature as well. A timeless story discovered by each new generation, The Diary of a Young Girl stands without peer. For young readers and adults, it continues to bring to life this young woman, who for a time survived the worst horrors the modern world had seen — and who remained triumphantly and heartbreakingly human throughout her ordeal.
The Second World War A People’s History
The Second World War surpassed all previous wars in the sheer cost of many millions of lives, most of them civilian. It left a world reeling from physical destruction on a scale never experienced till then, and from the psychological traumas of loss, of imprisonment and genocide, and permanent exile from home. In this short, uncompromising book, Joanna Bourke turns an unblinking eye on the events and outcomes in the vast number of places in which the War was fought: throughout Western and Central Europe, on the Eastern Front in the Soviet Union, in the Pacific, in Africa, in Asia. She shows where the strategic decisions came from and how they were implemented, but she also shows, through diary entries and recorded oral history, how ordinary… people felt when they witnessed or heard of events, from the declaration of war on the radio to the mass murders carried out by Nazi soldiers in Russian villages.
A People’s History of England
A People’s History of Liverpool
Storm and sanctuary: the journey of Ethiopian and Eritrean women refugees, Not Born a Refugee Woman, Land of Strangers, Sans-papiers : l’archaïsme fatal, This Place Will Become Home: Refugee Repatriation to Ethiopia By Laura Hammond , New Age Travellers: Uproarious or Uprooted?, The Tragedy of a Generation; The Rise and Fall of Jewish Nationalism in Eastern Europe, Asylum Migration and Community, Refugee Boy, The Beast, The Circuit; Stories from the life of a migrant child, World of Our Fathers: The Journey of the East European Jews to America and the Life They Found and Made: Irving Howe
Thomas Hylland Eriksen
An introductory text on social and cultural anthopology, this book covers such topics as: social control and socialization; the spread of capitalism; ethnicity; the global culture; and the societal character of humans.
Sharam Alghasi, Thomas Hylland Eriksen, Halleh Ghorashi
Mobility is becoming a key issue in social theory, with people moving between countries on diverse grounds and in diverse ways whether as tourists, refugees, students, temporary workers, labour migrants or family members of prior migrants. In this setting characterized by flux, minorities are often marked by their alleged culture, which is then taken to account for their relative successes or failures in adapting to their host society; culture also being invoked in accounts of social problems such as crime, educational failures and oppression of women.Explicity comparative in its approach, “Paradoxes of Cultural Recognition” discusses central issues regarding multiculturalism in today’s Europe, based on studies of Norway and the Netherlands.… Distinguishing clearly the four social fields of the media, education, the labour market and issues relating to gender, it presents empirical case studies, which offer valuable insights into the nature of majority/minority relationships, whilst raising theoretical questions relevant for further comparisons.With clear comparisons of integration and immigration policies in Europe and engagement with the questions surrounding the need for more culturally sensitive policies, this volume will be of interest to scholars and policy makers alike.
Eric R. Wolf, Thomas Hylland Eriksen
Sans-papiers : l’archaïsme fatal
Etienne Balibar, Monique Chemillier-Gendreau, Jacqueline Costa-Lasoux, Emmanuel Terray
God’s Heart Has No Borders: How Religious Activists Are Working for Immigrant Rights
In this timely and compelling account of the contribution to immigrant rights made by religious activists in post-1965 and post-9/11 America, Pierrette Hondagneu-Sotelo provides a comprehensive, close-up view of how Muslim, Christian, and Jewish groups are working to counter xenophobia. Against the hysteria prevalent in today’s media, in which immigrants are often painted as a drain on the public coffers, inherently unassimilable, or an outright threat to national security, Hondagneu-Sotelo finds the intersection between migration and religion and calls attention to quieter voices, those dedicated to securing the human dignity of newcomers.
Based on years of fieldwork conducted in California’s major centers as well as in Chicago, this book considers… Muslim Americans defending their civil liberties after 9/11, Christian activists responding to death and violence at the U.S-Mexico border, and Christian and Jewish clergy defending the labor rights of Latino immigrants. At a time when much attention has been given to religious fundamentalism and its capacity to incite violent conflict, God’s Heart Has No Borders revises our understanding of the role of religion in social movements and demonstrates the nonviolent power of religious groups to address social injustices.
Do Androids Dream of Electric Sheep
Philip K. Dick
The Stone Gods
Machine of Death A collection of stories about people who know how they will die
Ryan North, Matthew Bennardo, David Malki
Mortal Engines Quartet
Into the wild, The heart is a lonely hunter, On the Road, Zen and The Art Of Motorcycle Maintenance,
Christopher Tolkien, J.R.R. Tolkien
A New York Times bestseller for twenty-one weeks upon publication, UNFINISHED TALES is a collection of narratives ranging in time from the Elder Days of Middle-earth to the end of the War of the Ring, and further relates events as told in THE SILMARILLION and THE LORD OF THE RINGS. The book concentrates on the lands of Middle-earth and comprises Gandalf’s lively account of how he came to send the Dwarves to the celebrated party at Bag-End, the story of the emergence of the sea-god Ulmo before the eyes of Tuor on the coast of Beleriand, and the military organization of the Riders of Rohan and the journey of the Black Riders during the hunt for the Ring.
The Story of Edgar Sawtelle
The Setting Sun (1968)
Robert Crumb, Guy Delisle, Duncan: the Wonder Dog, Dykes to watch out for, Persepolis, Surrogates, Waltz with Bashir, Bad Arguments, The Elements of Style, Morganmuffel, Calvin and Hobbes,
During seven days in March 1984, Andrei Tarkovsky laid out, day by day his film theory, his philosophy, opinions and principles. It was the first time that Tarkovsky had to talk about his philosophy and film theory over such long time period.
The book is illustrated with the drawings created in March 1984 by Andrei Tarkovsky and photographs.
Soft cover, 5.1/2” x 8.1/2” (14cm x 21.5cm); 165 pages, b/w illustrations and photographs, mint condition. ISBN:978-097149828
Part I : TARKOVSKY IN BERLIN, by Vadim Moroz
Introduction. How Tarkovsky Came to Berlin. Tarkovsky’s Main Problem. Tarkovsky as Lecturer. Tarkovsky about Chekhov. Friedrich Gorenstein. About Renaissance. Tarkovsky and Berlin’s Officials. Hoffmanniana. The Question of Commercial Success of Artistic Films
Part II : ANDREI TARKOVSKY IN HIS OWN WORDS (March 1984)
About Eisenstein and “Trinity Theory”. About “Ivan’s Childhood”. About “Andrei Rublev”. Tarkovsky about His Films, Nature, Film-Makers and Viewers. Film, Music and Pavlov’s Dog. About Spielberg and Hollywood. Music in Film. About Art and Creation. Stalker. About Disaster and Stalker. The Grave Sin. About Art. The Basics of Film Aesthetics. Nostalghia. About Actors. Tarkovsky’s Aesthetics.
Part III : A FEW ASPECTS OF TARKOVSKY’S ART, by Vadim Moroz
Artistic Image (“Icon”, “Obras”). Composition as Element of Film Aesthetics. Time as Medium for the Artist. Development of Tarkovsky’s Concept of “Memory”.
Appendix: Catalog of Drawings by Andrei Tarkovsky created during the Conversations in Castle Glienicke, Berlin, Germany, March 1984
The book contains conversations and discussions with internationally acclaimed Russian film director Andrei Tarkovsky published the first time. This workshop with Andrei Tarkovsky took place in Castle Glienicke, Berlin. For seven days in March of 1984, Tarkovsky presented his film theory, philosophy, opinions and principles day by day. It was the first time he had to talk about his philosophy and film art over such a long time period. In Fall of 1984 Tarkovsky published his book “Sculpting in Time” but many subjects of Glienicke’s conversation were not included in this book and will be made available to the public for the first time. “Tarkovsky about His Film Art” is a valuable source of information for everybody who is interested to learn more about this great filmmaker’s own thoughts regarding his art and principles. The new book provides helpful information about Tarkovsky’s movies.
It is illustrated with Tarkovsky’s own drawings created in March 1984 and photographs.
There is a tendency to look for hidden symbols in Tarkovsky’s pictures. He denied hiding any symbolic meanings in his art and spent a lot of time explaining the difference between symbols and artistic pictures. He spoke about the basics of film aesthetics, the principals of visual and audio reception, about film as artwork and his “Trinity Theory” which was the complete opposite of Eisenstein’s theory. He stated that the artist and art-viewer are “two equal powers with different functions” and the third spiritual power appears during the artwork reception.
He was direct and outspoken with his opinions during the conversations in Castle Glienicke. For example, when he was asked why he doesn’t like the music of Tchaikovsky, he responded, “Imagine a big beautiful birthday cake. The cake is so delicious, but they insist that you have to eat the whole cake at once! The music of Tchaikovsky is like this!”
In March 1984, two years before the nuclear disaster in Chernobyl, Tarkovsky stated, “We are worse than kids playing with matches. We reached such a low spiritual level, that if a nuclear disaster had happened, it would just mean we deserved it. It means we have to struggle to achieve the spiritual affirmation of our existence. Do not just characterize “life is good” and “death is not good”. People always died and will die; everybody will be confronted with death sooner or later. What’s the difference, if a total disaster happens and everybody dies; so What?!…If we pose the question like this, we will find that we are not afraid because we discovered the possibility of death, but because we feel a spiritual emptiness which we perceive as the danger leading to disaster…” (from “About Disaster and Stalker”, p.86)
Andrei Tarkovsky (1932 – 1986) is listed among the 100 most critically acclaimed film directors; director Ingmar Bergman was quoted as saying “Tarkovsky for me is the greatest; the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream”. Tarkovsky attained critical praise for films such as “Andrei Rublev”, “Mirror”, “Solaris”, “Stalker”, “Nostalghia” and “Sacrifice”. –(from the Press)
“From Basics of Film Aesthetics–
….The movie represents your point of view on the reality, and this point of view should not be changed during the whole film, otherwise you destroy your movie.
For example, if you start to assemble the pieces of one scene, and you have one short piece in a different light, it does not work: it will not fit into the movie; it would destroy the scene…
The angle in which the camera casts creates a subjective space. If you change the angle of the camera position, you change this subjective space…..
Some people think that the photographic medium – film can truly reproduce nature. “just let us photograph the forest and the camera will show true nature.” This is wrong. Like an actor, nature can be true or false…
There are some trees which cannot be filmed. I don’t know why it does not work..”
“From About Disaster and Stalker–
We are worse than kids playing with matches. We reached such a low spiritual level, that if an atomic disaster had happened, it would just mean we deserved it.
It means we have to struggle to achieve the spiritual affirmation of our existence. Do not just characterize “life is good” and “death is not good.”
People always died and will die; everybody will be confronted with death sooner or later. What’s the difference, if a total disaster happens and everybody dies; so WHAT?!
Maybe it would somehow be more fun to die all together instead of all alone. The question is: why are we so afraid?…
If we pose the question like this, we will find that we are not afraid because we discovered the possibility of death, but because we feel a spiritual emptiness which we perceive as the danger leading to the disaster….”