Dehejia has tried to create a place within the main frame of culture and philosophy of Indian art for a legitimate analytic theory called despair. Dehejia's effort creates a space for the modern within Indian classicism by negotiating the philosophy of despair in classical terms. As a result the basic schism that has grown in recent years between the philosophy and history of modern art on the one hand and the philosophy and history of traditional arts is today cloder to being breached.

This is not a conventional biography but an attempt to explore the motives and intentions that underpin Talcott Parsons’ published work by exploring the reasoning Parsons shares with his readers in the pages of his many published works and the possible links between Parsons’ academic outputs and the social, economic and political situations in which Parsons found himself during the course of his life. Shaun Best brings together biography and the sociology of knowledge to demonstrate that there are links between the phases of Parsons theorizing the political, economic and social problems facing the United States; the circumstances in which he found himself and the intellectual decisions he made about what to publish. The assumption which underpins Parsons’ work is that knowledge is produced by people in particular historical conditions, grounded in sensory experience, exercising choice, judgment and reflection on those experiences. Thus, this book explores and evaluates Parsons’ ideas and arguments in relation to developments in social theory since the 1970s.

Modernism, Ruben Darío, and the Poetics of Despair presents a detailed study of a neglected facet of Ruben Darío, and in general, of Hispanic Modernism: metaphysical and existential dimensions as preludes to Modernity. Alberto Acereda and J. Rigoberto Guevara approach the life and death issues in Darío works with special emphasis on his poetry. The authors demonstrate how the Nicaraguan poet takes the first steps towards poetic modernity. The tragic component of Darío works are examined in the light of Nineteenth Century philosophy, especially the work of Arthur Schopenhauer. Various thematic proposals are also formulated for the study of the works of Ruben Darío.

Hailed as one of the most important works on the Hitler period, this is an “astonishing, compelling, and unnerving” portrait of life in Nazi Germany between 1936 and 1944—from a man who nearly shot Hitler himself (The New Yorker) Friedrich Reck might seem an unlikely rebel against Nazism. Not just a conservative but a rock-ribbed reactionary, he played the part of a landed gentleman, deplored democracy, and rejected the modern world outright. To Reck, the Nazis were ruthless revolutionaries in Gothic drag, and helpless as he was to counter the spell they had cast on the German people, he felt compelled to record the corruptions of their rule. The result is less a diary than a sequence of stark and astonishing snapshots of life in Germany between 1936 and 1944. We see the Nazis at the peak of power, and the murderous panic with which they respond to approaching defeat; their travesty of traditional folkways in the name of the Volk; and the author’s own missed opportunity to shoot Hitler. This riveting book is not only, as Hannah Arendt proclaimed it, “one of the most important documents of the Hitler period,” but a moving testament of a decent man struggling to do the right thing in a depraved world.

Lasting happiness comes not from chasing the American dream but from living an authentic life—which includes despair. In a culture obsessed with youth, financial success, and achieving happiness, is it possible to live an authentic, meaningful life? Nassir Ghaemi, director of the Mood Disorder Program at Tufts Medical Center, reflects on our society's current quest for happiness and rejection of any emotion resembling sadness. On Depression asks readers to consider the benefits of despair and the foibles of an unexamined life. Too often depression as disease is mistreated or not treated at all. Ghaemi warns against the "pretenders" who confuse our understanding of depression—both those who deny disease and those who use psychiatric diagnosis "pragmatically" or unscientifically. But experiencing sadness, even depression, can also have benefits. Ghaemi asserts that we can create a "narrative of ourselves such that we know and accept who we are," leading to a deeper, lasting level of contentment and a more satisfying personal and public life. Depression is complex, and we need guides to help us understand it, guides who comprehend it existentially as part of normal human experience and clinically as sometimes needing the right kind of treatment, including medications. Ghaemi discusses these guides in detail, thinkers like Viktor Frankl, Rollo May, Karl Jaspers, and Leston Havens, among others. On Depression combines examples from philosophy and the history of medicine with psychiatric principles informed by the author's clinical experience with people who struggle with mental illness. He has seen great achievements arise from great suffering and feels that understanding depression can provide important insights into happiness.

This is a study in the pathology of cultural criticism. By analyzing the thought and influence of three leading critics of modern Germany, this study will demonstrate the dangers and dilemmas of a particular type of cultural despair. Lagarde, Langbehn, and Moeller van den Bruck-their active lives spanning the years from the middle of the past century to the threshold of Hitler's Third Reich-attacked, often incisively and justly, the deficiencies of German culture and the German spirit. But they were more than the critics of Germany's cultural crisis; they were its symptoms and victims as well. Unable to endure the ills which they diagnosed and which they had experienced in their own lives, they sought to become prophets who would point the way to a national rebirth. Hence, they propounded all manner of reforms, ruthless and idealistic, nationalistic and utopian. It was this leap from despair to utopia across all existing reality that gave their thought its fantastic quality.

Not everything is what it seems. In a desperate bid to free her twin sister from an evil caster, Kellen flees her sheltered life under the cover of darkness. Lost and on the run from the cursed beasts lurking in the Dark Forest, she stumbles upon a clearing where seven handsome men reside. Despite their wariness towards her, Kellen finds herself drawn to them. Their laughter, camaraderie, and the way they gaze at her awaken a longing she’s never known. Her intuition whispers that she must stay, yet her loyalty to her sister compels her to find a way to leave. To plot her escape and save her sister, Kellen will need to navigate the seductive charm of the seven men and her yearning for acceptance in this darker version of Snow White that’s as spell-binding as the seven hot and endearing men who hold her captive.