This is an edited edition of Gramsci's notebooks and appears to be complete, finished, and organized. In fact, however, Gramsci did not organize his notebooks as they appear here. Hoare and Smith organized these notes around particular topics, whereas Gramsci originally wrote his notes in 29 separate notebooks, which he wrote at different times and never had the chance to systematically organize.

《利维坦》全书分为四部分。第一部分开宗明义宣布了作者的彻底唯物主义自然观和一般的哲学观点，声称宇宙是由物质的微粒构成，物体是独立的客观存在，物质永恒存在，既非人所创造，也非人所能消灭，一切物质都于运动状态中。第二部分是全书的主腐朽 ，主要描述自然状态中人们不幸的生活中都享有“生而平等”的自然权利，又都有渴望和平和安定生活的共同要求，于是出于人的理性，人们相互间同意订立契约，放弃各人的自然权利，把它托付给某一个人或一个由多人组成的集体，这个人或集体能把大家的意志化为一个意志，能把大家的人格统一为一个人格；大家则服从他的意地志，服从他的判断。第三部分《论基督教国家》旨在否认自成一统的教会，抨击教皇掌有超越世俗政权的大权。第四部分《论黑暗的王国》，其主要矛头是针对罗马教会，大量揭发了罗马教会的腐败黑暗、剥削领婪的种种丑行劣迹，从而神的圣洁尊崇，教会的威严神秘，已经在霍布斯的笔下黯然失色。

Few thinkers have been as influential upon current discussions and theoretical practices in the age of media archaeology, philosophy of technology, and digital humanities as the French thinker Gilbert Simondon. Simondon’s prolific intellectual curiosity led his philosophical and scientific reflections to traverse a variety of areas of research, including philosophy, psychology, the beginnings of cybernetics, and the foundations of religion. For Simondon, the human/machine distinction is perhaps not a simple dichotomy. There is much we can learn from our technical objects, and while it has been said that humans have an alienating rapport with technical objects, Simondon takes up the task of a true thinker who sees the potential for humanity to uncover life-affirming modes of technical objects whereby we can discover potentiality for novel, healthful, and dis-alienating rapports with them. For Simondon, by way of studying its genesis, one must grant to the technical object the same ontological status as that of the aesthetic object or even a living being. His work thus opens up exciting new entry points into studying the human’s rapport with its continually changing technical reality. This first complete English-language translation of Gilbert Simondon’s groundbreaking and influential work finally presents to Anglophone readers one of the pinnacle works of France’s most unique thinkers of technics.

阿甘本，当代欧陆哲学和批判理论领域重要而饱受争议的人物，其作品涵盖了从《圣经》批评到关塔那摩监狱、“反恐战争”等广泛主题，在学界影响深远。本书是对阿甘本思想的批评概述，以精练的语言介绍了阿甘本的主要思想及背景，从其第一本著作到如今的语言哲学和生命伦理学，纵览阿甘本的全部作品，详尽阐释了阿甘本的语言与生命哲学，“见证”了阿甘本的政治写作与他的美学、诗学作品之间的关系。本书对任何希望了解现代政治和文化构造之复杂性的人来说，都是重要的入门读物。
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★★选自Routledge Critical Thinkers系列
★★那些构成了阿甘本的核心概念：语言֎否定性֎幼儿期֎潜能֎赤裸生命֎诗学֎见证֎弥赛亚֎……
★★思想背景与他所面向的大师们：海德格尔/德里达/本雅明/福柯/卡夫卡/……
★★“如果本书只提出一个关于阿甘本作品的主张，那么这个主张将是，语言哲学是阿甘本思想的核心。”——亚历克斯•默里

本书以萨特走向存在主义马克思主义的思想进程为轴心，论述了存在主义的马克思主义产生与形成的三个阶段。第一个阶段以黑格尔的复兴和马克思的再发现为标志，构成了存在主义马克思主义产生的理论准备阶段；第二阶段以存在主义与斯大林主义之间的理论交锋为特征，是存在主义马克思主义理论方向的开启阶段；第三个阶段以存在主义与马克思主义的“融合”为主题，是存在主义马克思主义的最终形成阶段。存在主义马克思主义的形成呈现为一个发现、争论、融合的历史进程，并在20世纪60年代成为具有重要影响的马克思主义理论。

Henri Lefebvre has considerable claims to be the greatest living philosopher. His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields.
The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy.
This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.

Tristes Tropiques was an immensely popular bestseller when it was first published in France in 1955. Claude Levi-Strauss's groundbreaking study of the societies of a number of Amazonian peoples is a cornerstone of structural anthropology and an exploration by the author of his own intellectual roots as a professor of philosophy in Brazil before the Second World War, as a Jewish exile from Nazi-occupied Europe, and later as a world-renowned academic (he taught at New York's New School for Social Research and was French cultural attache to the United States). Levi-Strauss's central journey leads from the Amazon basin through the dense upland jungles of Brazil. There, among the Amerindian tribes - the Caduveo, Bororo, Nambikwara, and Tupi-Kawahib - he found "a human society reduced to its most basic expression." Levi-Strauss's discussion of his fieldwork in Tristes Tropiques endures as a milestone of anthropology, but the book is also, in its brilliant diversions on other, more familiar cultures, a great work of literature, a vivid travelogue, and an engaging memoir - a demonstration of the marvelous mental agility of one of the century's most important thinkers. Presented here is the translation by John and Doreen Weightman of the complete text of the revised French edition of 1968, together with the original photographs and illustrations.

One-Way Street is a thoroughfare unlike anything else in literature--by turns exhilarating and bewildering, requiring mental agility and a special kind of urban literacy. Presented here in a new edition with expanded notes, this genre-defying meditation on the semiotics of late-1920s Weimar culture offers a fresh opportunity to encounter Walter Benjamin at his most virtuosic and experimental, writing in a vein that anticipates later masterpieces such as "On the Concept of History" and The Arcades Project.
Composed of sixty short prose pieces that vary wildly in style and theme, One-Way Street evokes a dense cityscape of shops, cafes, and apartments, alive with the hubbub of social interactions and papered over with public inscriptions of all kinds: advertisements, signs, posters, slogans. Benjamin avoids all semblance of linear narrative, enticing readers with a seemingly random sequence of aphorisms, reminiscences, jokes, off-the-cuff observations, dreamlike fantasias, serious philosophical inquiries, apparently unserious philosophical parodies, and trenchant political commentaries. Providing remarkable insight into the occluded meanings of everyday things, Benjamin time and again proves himself the unrivalled interpreter of what he called "the soul of the commodity."
Despite the diversity of its individual sections, Benjamin's text is far from formless. Drawing on the avant-garde aesthetics of Dada, Constructivism, and Surrealism, its unusual construction implies a practice of reading that cannot be reduced to simple formulas. Still refractory, still radical, One-Way Street is a work in perpetual progress.

Benjamin's famous "Work of Art" essay sets out his boldest thoughts - on media and on culture in general - in their most realized form, while retaining an edge that gets under the skin of everyone who reads it. In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought.This essay, however, is only the beginning of a vast collection of writings that the editors have assembled to demonstrate what was revolutionary about Benjamin's explorations on media. Long before Marshall McLuhan, Benjamin saw that the way a bullet rips into its victim is exactly the way a movie or pop song lodges in the soul.This book contains the second, and most daring, of the four versions of the "Work of Art" essay - the one that addresses the utopian developments of the modern media. The collection tracks Benjamin's observations on the media as they are revealed in essays on the production and reception of art; on film, radio, and photography; and on the modern transformations of literature and painting. The volume contains some of Benjamin's best-known work alongside fascinating, little-known essays - some appearing for the first time in English. In the context of his passionate engagement with questions of aesthetics, the scope of Benjamin's media theory can be fully appreciated.

The work of Giorgio Agamben, one of Italy's most important and original philosophers, has been based on an uncommon erudition in classical traditions of philosophy and rhetoric, the grammarians of late antiquity, Christian theology, and modern philosophy. Recently, Agamben has begun to direct his thinking to the constitution of the social and to some concrete, ethico-political conclusions concerning the state of society today, and the place of the individual within it. In "Homo Sacer, " Agamben aims to connect the problem of pure possibility, potentiality, and power with the problem of political and social ethics in a context where the latter has lost its previous religious, metaphysical, and cultural grounding. Taking his cue from Foucault's fragmentary analysis of biopolitics, Agamben probes with great breadth, intensity, and acuteness the covert or implicit presence of an idea of biopolitics in the history of traditional political theory. He argues that from the earliest treatises of political theory, notably in Aristotle's notion of man as a political animal, and throughout the history of Western thinking about sovereignty (whether of the king or the state), a notion of sovereignty as power over "life" is implicit. The reason it remains merely implicit has to do, according to Agamben, with the way the sacred, or the idea of sacrality, becomes indissociable from the idea of sovereignty. Drawing upon Carl Schmitt's idea of the sovereign's status as the exception to the rules he safeguards, and on anthropological research that reveals the close interlinking of the sacred and the taboo, Agamben defines the sacred person as one who can be killed and yet not sacrificed--a paradox he sees as operative in the status of the modern individual living in a system that exerts control over the collective "naked life" of all individuals.

The groundbreaking Marxist philosopher provides unique appraisals of major writers.

Review
'An extremely provocative, original, and engaging book, it raises questions of great relevance and urgency about the process of cultural selection and canonization.'Denis Hollier, Yale UniversityIgnorant Schoolmaster
In The Ignorant Schoolmaster, Rancière uses the historical figure of Joseph Jacotot as a way of discussing human nature, education, pedagogy, ignorance, intelligence, and emancipation. These ideas have profound implications on the nature of schooling and research, and the role that teachers and scholars play. Contents [hide]
1 Joseph Jacotot (1770-1840)
2 Explication
3 Emancipation
4 Ignorance
5 Intelligence
6 Will
7 Language
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Joseph Jacotot (1770-1840)
Jacotot was a French instructor who taught subjects as far-ranging as French, literature, mathematics, ideology and law (p. 1). He had a profound realization one time when he had to teach a group of Flemish students French. Since he didn’t know Flemish himself, he had the challenge of teaching these students French.
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Explication
The conventional view of the teacher’s (or master’s, as Rancière calls it), is to “explicate”. But Jacotot noticed that his Flemish students were able to learn French without any explication from him. He had given them a bilingual text of Télémaque; using that, his students were able to eventually under French grammar and spelling, using a text that was aimed for adults, and not “simplified” for school children. Jacotot (or maybe Rancière?) was inspired to ask: Were schoolmaster’s explications superfluous? (p. 4) Rancière believes that explication stultifies learning by short-circuiting the journey that the student is able to make. Teachers who rely on explication inadvertently creates a “veil of ignorance” (p. 6) what the student is expected to learn, thus creating a world of superior (i.e. the master, the explicator) and inferior (i.e. the student, the ignorant). But Rancière believes that all people are capable of learning without explication because they have all acquired their mother tongues without explication (p. 5, 10). They learn, imitate, and correct themselves, and universally, all children will grow up to understand their parents without every spent one day in school. Why do we presume this intelligence goes away?
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Emancipation
Rancière distinguishes between two human traits: intelligence and will. In Jacotot’s classroom, there are two wills (the students’ and Jacotot’s) and two intelligences (the students’ and the book’s). Students may need to follow the teacher’s will, who guides them towards the subject. But stultification occurs when the students’ intelligences are linked with the teacher’s, when they have to rely on the schoolmaster to explain what they have learned. The opposite of stultification is, therefore, emancipation. But who emancipates? Once again, conventionally, it is the scholar, the philosopher, the wise, the learned, the Teachers College doctoral student. But Rancière believes that the only way to emancipate is when an intelligence obeys only itself even if its will obeys another’s will (p. 13). In reality, universal teaching has existed since the beginning of the world, alongside all the explicative methods...Everyone has done this experiment a thousand times in life, and yet it has never occurred to someone to say to someone else: I’ve learned many things without explanations, I think that you can too... (p. 16)In Jacotot’s class, the students learned using their own methods, not his. And in the end, they learned French, and they have done so using the oldest method in the world: universal teaching.
[edit]
Ignorance
Rancière argues that the “Socratic Method” is a perfected form of stultification, where the role of the Master is to interrogate (demand speech) and verify that intelligence is done with attention (p. 29). Even if these pedagogies are aimed at “empowering” the student, it is still done so after the master has verified it. Thus, it is still the master’s method, not the student’s.
The ignorant schoolmaster does not verify what the student has found, only that the student has searched (p. 31). This means that anyone, including illiterate parents, can teach their children how to read and write. For example, they can question whether they pronounce the same word each time in the same way, or hide it under their hand and ask the student what is under it. This is true not only for re
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Intelligence
Most people become stultified because they believe in their inferiority (p. 39). And superior minds can only be superior if they can make everyone else inferior. Thus we never break out of that circle, not matter how generous our intentions may be. The word intelligence is often understood as a number, or variable, that describes different people’s capacities to comprehend complex ideas or solve logic problems. But Rancière believes that everyone has the same intelligence (p. 50). He argues that a statement like “Bob is smarter because he produces better work” is a tautological statement that explains nothing. It’s true that people will produce different types of work, but he doesn’t see this as the result of different intelligence, but as a result of not bringing sufficient attention to the work.
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Will
Intelligence has to do with attention while will has to do with the “power to be moved” (p. 54). Rancière argues that each of us represents a will that is served by an intelligence. We see, analyze, compare, reason, correct, reconsider, on an everyday basis. We do not always learn the same things because we do not pay the same amount of attention to the situation. Furthermore, he suggests that “[m]eaning is the work of the will” (p. 56). He calls “secret” of universal teaching, something that geniuses all know. All humans are capable of anything they want.
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Language
Jacotot/Rancière believed that truth cannot be told. When it is expressed in language it becomes fragmented (p. 60). Hence, he goes into the arbitrariness of language to suggest that there is no language that is superior than others because they are equally arbitrary. Intelligence does not have a language. As Jacotot argued, we are not intelligent because we speak; we are intelligent because we exist. But this is not a problem. It is precisely because all languages are arbitrary that we employ all we have access to (including but not limited to language) in expressing truth. (p. 62) Rancière calls our expression through language as a form of art, like improvisation. He calls “telling the story” and “figuring things out” the two master operations of intelligence (p. 64). He believes that the artist is the exact opposite of the professor. He argues: “Each one of us is an artist to the extent that he carries out a double process; he is not content to be a mere journeyman but wants to make all work a means of expression, and he is not content to feel something but tries to impart it to others” (p. 70).

In this essential rereading of Spinoza's (1632-1677) philosophical and political writings, Negri positions this thinker within the historical context of the development of the modern state and its attendant political economy. Through a close examination of Spinoza, Negri reveals turn as unique among his contemporaries for his nondialectical approach to social organization in a bourgeois age.

A Thousand Plateaus continues the work Gilles Deleuze and Félix Guattari began in Anti-Oedipus and has now become established as one of the classic studies of the development of critical theory in the late twentieth century. It occupies an important place at the center of the debate reassessing the works of Freud and Marx, advancing an approach that is neither Freudian nor Marxist but which learns from both to find an entirely new and radical path. It presents an attempt to pioneer a variety of social and psychological analyses free of the philosophical encumbrances criticized by postmodern writers. A Thousand Plateaus is an essential text for feminists, literary theorists, social scientists, philosophers, and others interested in the problems of contemporary Western culture.

First published in France in 1983, this is at once a revolutionary work in philosophy and a book about cinema. For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts-or images-of film. Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.
Drawing upon Henri Bergson's thesis on perception and C. S. Peirce's classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.
"The appearance of [this book] is an exciting event for film study and one that well deserves serious attention and commentary." —Film Quarterly

Cinema 2: The Time-Image brings to completion Gilles Deleuze's work on the theoretical implications of the cinematographic image. In Cinema 1: The Movement-Image, Deleuze proposed a new way to understand narrative cinema, based on Henri Bergson's notion of the movement-image and C. S. Peirce's classification of images and signs. In Cinema 2, he explains why, since World War II, time has come to dominate film: the fragment or solitary image, in supplanting narrative cinema's rational development of events, illustrates this new significance of time.
Deleuze ascribes this shift to the condition of postwar Europe: the situations and spaces "we no longer know how to describe"—buildings deserted but inhabited, cities undergoing demolition or reconstruction—and the new race of characters who emerged from this rubble, mutants, who "saw rather than acted." Deleuze discusses the films of Rossellini, De Sica, Fellini, Godard, Resnais, Antonioni, Pasolini, Rohmer, Ophuls, and many others, suggesting that contemporary cinema, far from being dead, is only beginning to find new ways to capture time in the image.

In this book, one of Italy's most important and original contemporary philosophers considers the status of art in the modern era. He takes seriously Hegel's claim that art has exhausted its spiritual vocation, that it is no longer through art that Spirit principally comes to knowledge of itself. He argues, however, that Hegel by no means proclaimed the "death of art" (as many still imagine) but proclaimed rather the indefinite continuation of art in what Hegel called a "self-annulling" mode. With astonishing breadth and originality, the author probes the meaning, aesthetics, and historical consequences of that self-annulment. In essence, he argues that the birth of modern aesthetics is the result of a series of schisms--between artist and spectator, genius and taste, and form and matter, for example--that are manifestations of the deeper, self-negating yet self-perpetuating movement of irony. Through this concept of self-annulment, the author offers an imaginative reinterpretation of the history of aesthetic theory from Kant to Heidegger, and he opens up original perspectives on such phenomena as the rise of the modern museum, the link between art and terror, the natural affinity between "good taste" and its perversion, and kitsch as the inevitable destiny of art in the modern era. The final chapter offers a dazzling interpretation of Durer's "Melancholia" in the terms that the book has articulated as its own. "The Man Without Content" will naturally interest those who already prize Agamben's work, but it will also make his name relevant to a whole new audience--those involved with art, art history, the history of aesthetics, and popular culture.