In the mid-Victorian era, liberalism was a practical politics: it had a party, it informed legislation, and it had adherents who identified with and expressed it as opinion. It was also the first British political movement to depend more on people than property, and on opinion rather than interest. But how would these subjects of liberal politics actually live liberalism?
To answer this question, Elaine Hadley focuses on the key concept of individuation—how it is embodied in politics and daily life and how it is expressed through opinion, discussion and sincerity. These are concerns that have been absent from commentary on the liberal subject. Living Liberalism argues that the properties of liberalism—citizenship, the vote, the candidate, and reform, among others—were developed in response to a chaotic and antagonistic world. In exploring how political liberalism imagined its impact on Victorian society, Hadley reveals an entirely new and unexpected prehistory of our modern liberal politics. A major revisionist account that alters our sense of the trajectory of liberalism, Living Liberalism revises our understanding of the presumption of the liberal subject.
How do we use our mental images of the present to reconstruct our past? Maurice Halbwachs (1877-1945) addressed this question for the first time in his work on collective memory, which established him as a major figure in the history of sociology. This volume, the first comprehensive English-language translation of Halbwach's writings on the social construction of memory, fills a major gap in the literature on the sociology of knowledge.
Halbwachs' primary thesis is that human memory can only function within a collective context. Collective memory, Halbwachs asserts, is always selective; various groups of people have different collective memories, which in turn give rise to different modes of behavior. Halbwachs shows, for example, how pilgrims to the Holy Land over the centuries evoked very different images of the events of Jesus' life; how wealthy old families in France have a memory of the past that diverges sharply from that of the nouveaux riches; and how working class construction of reality differ from those of their middle-class counterparts.
With a detailed introduction by Lewis A. Coser, this translation will be an indispensable source for new research in historical sociology and cultural memory.
Lewis A. Coser is Distinguished Professor of Sociology Emeritus at the State University of New York and Adjunct Professor of Sociology at Boston College.
Then
You looked up vaguely
or you didn’t—even the memory
is dying. Then you whole body
breathed out, and the argument ended.
Heaven surfaced about you
like a glass tabletop, hard
and cold. Whatever you do
don’t turn me into poetry. Sorry:
I am done crying about it
but I am not done crying.
An extended meditation on how death affects those left behind, Under Sleep is a skillfully understated, beautifully rendered elegy for the poet’s partner. Formally inventive and technically sophisticated, Daniel Hall attends to the power of death to haunt every perception. The poet’s voice registers as though he were walking on the bottom of the ocean, in a state of mind somewhere “under sleep,” in a kind of waking dream. In Hall’s hands, isolated moments of perception bloom into truly touching love elegies.
The poems in Under Sleep were written over a period of ten years and, as a result, are densely interconnected, with lines and entire stanzas transplanted between different poems. Using styles ranging from free verse to sonnets, Sapphics, and rhymed haikus, Hall populates the book with literary and historical figures—Baudelaire, Pound, and Casanova—in poems set in China, the Middle East, Death Valley, and Italy. Throughout, the poetry is propelled by tension as the speaker struggles with his own better judgment—and against his lover’s wishes—to turn the loss of the beloved into art.
Praise for Daniel Hall
“Daniel Hall’s work reminds us that a poet’s sharp-sightedness, the whole business of ‘getting things right,’ is a matter of far more than accuracy. It’s a matter of—inescapably—thanksgiving.”—Brad Leithauser, New York Review of Books
Is the purpose of political philosophy to articulate the moral values that political regimes would realize in a virtually perfect world and show what that implies for the way we should behave toward one another? That model of political philosophy, driven by an effort to draw a picture of an ideal political society, is familiar from the approach of John Rawls and others. Or is political philosophy more useful if it takes the world as it is, acknowledging the existence of various morally non-ideal political realities, and asks how people can live together nonetheless?
The latter approach is advocated by “realist” thinkers in contemporary political philosophy. In Value, Conflict, and Order, Edward Hall builds on the work of Isaiah Berlin, Stuart Hampshire, and Bernard Williams in order to establish a political realist’s theory of politics for the twenty-first century. The realist approach, Hall argues, helps us make sense of the nature of moral and political conflict, the ethics of compromising with adversaries and opponents, and the character of political legitimacy. In an era when democratic political systems all over the world are riven by conflict over values and interests, Hall’s conception is bracing and timely.
This volume presents the latest thoughts of a brilliant group of young economists on one of the most persistent economic problems facing the United States and the world, inflation. Rather than attempting an encyclopedic effort or offering specific policy recommendations, the contributors have emphasized the diagnosis of problems and the description of events that economists most thoroughly understand. Reflecting a dozen diverse views—many of which challenge established orthodoxy—they illuminate the economic and political processes involved in this important issue.
Norman Rockwell’s scenes of everyday small-town life are among the most indelible images in all of twentieth-century art. While opinions of Rockwell vary from uncritical admiration to sneering contempt, those who love him and those who dismiss him do agree on one thing: his art embodies a distinctively American style of innocence.
In this sure-to-be controversial book, Richard Halpern argues that this sense of innocence arises from our reluctance—and also Rockwell’s—to acknowledge the often disturbing dimensions of his works. Rockwell’s paintings frequently teem with perverse acts of voyeurism and desire but contrive to keep these acts invisible—or rather, hidden in plain sight, available for unacknowledged pleasure but easily denied by the viewer.
Rockwell emerges in this book, then, as a deviously brilliant artist, a remorseless diagnostician of the innocence in which we bathe ourselves, and a continuing, unexpected influence on contemporary artists. Far from a banal painter of the ordinary, Halpern argues, Rockwell is someone we have not yet dared to see for the complex creature he is: a wholesome pervert, a knowing innocent, and a kitschy genius.
Provocative but judicious, witty but deeply informed, Norman Rockwell is a book rich in suggestive propositions and eye-opening details—one that will change forever the way we think about this American icon and his works.
Americans take for granted that government does not have the right to permanently seize private property without just compensation. Yet for much of American history, such a view constituted the weaker side of an ongoing argument about government sovereignty and individual rights. What brought about this drastic shift in legal and political thought?
Daniel W. Hamilton locates that change in the crucible of the Civil War. In the early days of the war, Congress passed the First and Second Confiscation Acts, authorizing the Union to seize private property in the rebellious states of the Confederacy, and the Confederate Congress responded with the broader Sequestration Act. The competing acts fueled a fierce, sustained debate among legislators and lawyers about the principles underlying alternative ideas of private property and state power, a debate which by 1870 was increasingly dominated by today’s view of more limited government power.
Through its exploration of this little-studied consequence of the debates over confiscation during the Civil War, The Limits of Sovereignty will be essential to an understanding of the place of private property in American law and legal history.
The rootless Jew, wandering disconnected from history, homeland, and nature, was often the target of early twentieth-century nationalist rhetoric aimed against modern culture. But following World War II, a number of prominent French philosophers recast this maligned figure in positive terms, and in so doing transformed postwar conceptions of politics and identity.
Sarah Hammerschlag explores this figure of the Jew from its prewar usage to its resuscitation by Jean-Paul Sartre, Emmanuel Levinas, Maurice Blanchot, and Jacques Derrida. Sartre and Levinas idealized the Jew’s rootlessness in order to rethink the foundations of political identity. Blanchot and Derrida, in turn, used the figure of the Jew to call into question the very nature of group identification. By chronicling this evolution in thinking, Hammerschlag ultimately reveals how the figural Jew can function as a critical mechanism that exposes the political dangers of mythic allegiance, whether couched in universalizing or particularizing terms.
Both an intellectual history and a philosophical argument, The Figural Jew will set the agenda for all further consideration of Jewish identity, modern Jewish thought, and continental philosophy.
It is a common belief that scripture has no place in modern, secular politics. Graham Hammill challenges this notion in The Mosaic Constitution, arguing that Moses’s constitution of Israel, which created people bound by the rule of law, was central to early modern writings about government and state.
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