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A sweeping reconsideration of the artist we thought we knew—and the forces that obscured her legacy.

Fiercely ambitious and independent, Mary Cassatt defied expectations to become one of the most radical artists of the Impressionist movement, though she was—and remains—the least understood. Cassatt commanded and manipulated strains of old master and contemporary painting to express her female subjectivity through a brilliantly modern oeuvre on par with those of the most revered Impressionists. However, mishandled by the Parisian art establishment during her lifetime, and later by art historians and curators, she became known almost exclusively as a sentimentalizing painter of mothers and children.

How did this happen to the most aspiring, revolutionary female artist of the late nineteenth and early twentieth centuries? In Cassatt Reconsidered, author Mary G. Morton probes this central question and more, demonstrating how Cassatt disturbed conventional ideals of femininity, childhood, and maternity, an uncompromising feat for which she paid dearly during her lifetime and in the annals of art historiography.

Vibrantly illustrated with more than 100 images, Cassatt Reconsidered rewards readers with a fuller understanding of an artist who stands apart for daring to express, on her own terms, the unique, intimate experiences of modern women.

Exploring how art cinema cultivates existential health through the films of Olivier Assayas
 
This book proposes that cinephilia can facilitate existential health, which makes palpable the potential for subjectivity to be recomposed through meaningful encounters with cinema. Adam Szymanskidraws on the ethos of psychoanalyst Félix Guattari and thinks with select films from director Olivier Assayas—including Clouds of Sils Maria and Personal Shopper—to theorize how the cinema can be invested with therapeutic value. Cinephilia and the Adventure for Existential Health engages the history of psychoanalytic film theory, excavates its long-standing concern with the production of spectatorial subjectivity, and challenges pathologizing understandings of cinema spectatorship couched in identification, fetishism, and voyeurism. By embracing the indeterminacy of the cinematic experience and the adventurous disposition of cinephilia, the book allies itself to the pursuit of collective health and challenges the logic of medical power.

Max Scheler’s Cognition and Work (Erkenntnis und Arbeit) first appeared in German in 1926, just two years before his death. The first part of the book offers one of the earliest critical analyses of American pragmatism, an analysis that would come to have a significant impact on the reception of pragmatism in Germany and western Europe. The second part of the work contains Scheler’s phenomenological account of perception and the experience of reality, an account that is as original as both Husserl’s and Merleau-Ponty’s phenomenologies of perception. Scheler aims to show that the modern mechanistic view of nature fails to account for the dynamic relation that not only the human being but all living beings have to the environment they inhabit.

Available in English translation for the first time, Cognition and Work pushes the boundaries of phenomenology as it is traditionally understood and offers insight into Scheler’s distinct metaphysics. This book is essential reading for those interested in phenomenology, pragmatism, perception, and living beings in their relation to the natural world.

Congo Style presents a postcolonial approach to discussing the visual culture of two now-notorious regimes: King Leopold II’s Congo Colony and the state sites of Mobutu Sese Seko’s totalitarian Zaïre. Readers are brought into the living remains of sites once made up of ambitious modernist architecture and art in Kinshasa, Democratic Republic of the Congo. From the total artworks of Art Nouveau to the aggrandizing sites of post-independence Kinshasa, Congo Style investigates the experiential qualities of man-made environments intended to entertain, delight, seduce, and impress. 

Decorative needlework was a key medium through which American women constructed femininity and its relationship to public and political concerns in the nineteenth and early twentieth centuries. Through samplers, needlecases, lace coats, silk sofas, cotton scraps, banners, and other textile things, scholars can see the ways in which women and girls related to education, property-holding, slavery and freedom, labor, and women’s right to vote. Needlework’s durable association with “traditional” notions about womanhood made it a potent resource through which to make gender in expansive and meaningful ways that had profound public, political implications as educational opportunities for girls and women were expanding, and the antislavery and women's suffrage movements were growing. Indeed, needlework's very conventionality and relationship to the past made it a useful tool for crafting womanhood anew. 

Argues for a pragmatist orientation for postmodern theory.

Taking up the problem that has stalled contemporary theory—its treatment of the object of knowledge, the “outside,” as nothing but what a particular discourse makes of it—this book suggests a solution: a reinvigorated, posthumanist form of pragmatism.

From Kant to Kierkegaard, from Hegel to Heidegger, continental philosophers have indelibly shaped the trajectory of Western thought since the eighteenth century. Although much has been written about these monumental thinkers, students and scholars lack a definitive guide to the entire scope of the continental tradition. The most comprehensive reference work to date, this eight-volume History of Continental Philosophy will both encapsulate the subject and reorient our understanding of it. Beginning with an overview of Kant’s philosophy and its initial reception, the History traces the evolution of continental philosophy through major figures as well as movements such as existentialism, phenomenology, hermeneutics, and poststructuralism. The final volume outlines the current state of the field, bringing the work of both historical and modern thinkers to bear on such contemporary topics as feminism, globalization, and the environment. Throughout, the volumes examine important philosophical figures and developments in their historical, political, and cultural contexts.

The first reference of its kind, A History of Continental Philosophy has been written and edited by internationally recognized experts with a commitment to explaining complex thinkers, texts, and movements in rigorous yet jargon-free essays suitable for both undergraduates and seasoned specialists. These volumes also elucidate ongoing debates about the nature of continental and analytic philosophy, surveying the distinctive, sometimes overlapping characteristics and approaches of each tradition. Featuring helpful overviews of major topics and plotting road maps to their underlying contexts, A History of Continental Philosophy is destined to be the resource of first and last resort for students and scholars alike.

Established in 1918, as a new state the First Czechoslovak Republic was keen to project a distinct image. Participation in World Fairs offered the perfect opportunity-. In this comprehensive account of Czechoslovak participation in international exhibitions of the interwar period Marta Filipová looks beyond the sleek façade of the modernist pavilions to examine the intersections of architecture, art and design with commercial interests, state agendas, individual action and the public, offering a complex insight into the production and reception of national displays.

The rich collection of images – mainly photographs – provides a close look at the Czechoslovak pavilions. The design, content and context of the displays convey an idealized narrative that was created for the fairs and the myths on which the Czechoslovak nation and state were built. Heavy machinery, modern art, tourist destinations, and food and drink were presented as Czechoslovak, while many aspects of social life – particularly women or ethnic minorities – were strikingly underrepresented or absent. The book argues that the objects and ideas that the pavilion organizers put on display legitimized and validated the existence of the new state through the inclusion and exclusion of exhibits, people, and ideas.

While Marta Filipová primarily focuses on Czechoslovakia, she also offers insights into how other emerging nations projected and sustained their image during this historical period and how interwar world’s fairs accommodated them.