Josef van Ess is the world's most distinguished scholar of classical kalam, the Muslim theology that was the precursor to, and foundation for, modern Islam. This book makes available, for the first time in English, the fruit of van Ess's thirty-five years of work in the field. A lucid and authoritative introduction to classical Islam, it opens a window on the intellectual world that gave rise to Muslim theology.

A sustained look at important issues in early kalam, The Flowering of Muslim Theology discusses the emergence of theology in the classical period and offers acute and illuminating comparisons with the Christian (and Jewish) traditions. Van Ess looks at the issue of heresy, at early ideas about straying from true belief. In a substantial and original instance of Koranic exegesis, he considers a problem much debated among classical theologians: whether it is possible to see God. He examines the different ways in which early Muslim thinkers appropriated atomism, a natural philosophy that was originally materialistic and atheistic, for their own theological purposes. He explores the explosive mix of theology and political thought, in an analysis of the development of ideas about the role and authority of a ruler. And he considers the relationship, or contradiction, between faith and knowledge: the enduring question of how one can know whether something is right or true.

A work of intellectual history enlivened by vivid examples, The Flowering of Muslim Theology gives a wider audience rare insight into Islam's rich classical past.

Paul Lafargue, the disciple and son-in-law of Karl Marx, helped to found the first French Marxist party in 1882. Over the next three decades, he served as the chief theoretician and propagandist for Marxism in France. During these years, which ended with the dramatic suicides of Lafargue and his wife, French socialism, and the Marxist party within it, became a significant political force.

In an earlier volume, Paul Lafargue and the Founding of French Marxism, 1842-1882, Leslie Derfler emphasized family identity and the origin of French Marxism. Here, he explores Lafargue's political strategies, specifically his break with party co-founder Jules Guesde in the Boulanger and Dreyfus episodes and over the question of socialist-syndicalist relations. Derfler shows Lafargue's importance as both political activist and theorist. He describes Lafargue's role in the formulation of such strategies as the promotion of a Second Workingmen's International, the pursuit of reform within the framework of the existent state but opposition to any socialist participation in nonsocialist governments, and the subordination of trade unionism to political action. He emphasizes Lafargue's pioneering efforts to apply Marxist methods of analysis to questions of anthropology, aesthetics, and literary criticism.

Despite the crucial part they played in the social and political changes of the past century and the heritage they left, the first French Marxists are not widely known, especially in the English-speaking world. This important critical biography of Lafargue, the most audacious of their much maligned theorists, enables us to trace the options open to Marxist socialism as well as its development during a critical period of transition.

In the midst of China’s wild rush to modernize, a surprising note of reality arises: Shanghai, it seems, was once modern indeed, a pulsing center of commerce and art in the heart of the twentieth century. This book immerses us in the golden age of Shanghai urban culture, a modernity at once intrinsically Chinese and profoundly anomalous, blending new and indigenous ideas with those flooding into this “treaty port” from the Western world.

A preeminent specialist in Chinese studies, Leo Ou-fan Lee gives us a rare wide-angle view of Shanghai culture in the making. He shows us the architecture and urban spaces in which the new commercial culture flourished, then guides us through the publishing and filmmaking industries that nurtured a whole generation of artists and established a bold new style in urban life known as modeng. In the work of six writers of the time, particularly Shi Zhecun, Mu Shiying, and Eileen Chang, Lee discloses the reflection of Shanghai’s urban landscape—foreign and familiar, oppressive and seductive, traditional and innovative. This work acquires a broader historical and cosmopolitan context with a look at the cultural links between Shanghai and Hong Kong, a virtual genealogy of Chinese modernity from the 1930s to the present day.