What makes for good societies and good lives in a global world? In this landmark work of political and ethical philosophy, Omedi Ochieng offers a radical reassessment of a millennia-old question. He does so by offering a stringent critique of both North Atlantic and African philosophical traditions, which he argues unfold visions of the good life that are characterized by idealism, moralism, and parochialism. But rather than simply opposing these flawed visions of the good life with his own set of alternative prescriptions, Ochieng argues that it is critically important to step back and understand the stakes of the question. Those stakes, he suggests, are to be found only through a social ontology – a comprehensive and in-depth account of the political, economic, and cultural structures that mark the boundaries and limits of life in the twenty-first century. It is only in light of this social ontology that Ochieng then proffers an alternative normative account of the good society and the good life – which he spells out as emergent from ecological embeddedness; social entanglement; embodied encounter; and aesthetic engenderment. At once sweeping and rigorous, incisive and subtle, original and revisionary, this book does more than just appeal to intellectuals and scholars across the humanities and social sciences – rather, it opens up the academic disciplines to a whole new landscape of exploration into the biggest and most pressing questions animating the human experience.

The Intellectual Imagination unfolds a sweeping vision of the form, meaning, and value of intellectual practice. The book breaks new ground in offering a comprehensive vision of the intellectual vocation. Omedi Ochieng argues that robust and rigorous thought about the form and contours of intellectual practices is best envisioned in light of a comprehensive critical contextual ontology—that is, a systematic account of the context, forms, and dimensions in and through which knowledge and aesthetic practices are created, embodied, translated, and learned. Such an ontology not only accounts for the embeddedness of intellectual practices in the deep structures of politics, economics, and culture, but also in turn demonstrates the constitutive power of critical inquiry. It is against this background that Ochieng unfolds a multidimensional and capacious theory of knowledge and aesthetics. In a critique of the oppositional binaries that now reign in the modern and postmodern academy—binaries that pit fact versus value, science versus the humanities, knowledge versus aesthetics—Ochieng argues for the inextricable intertwinement of reason, interpretation, and the imagination. The book offers a close and deep reading of North Atlantic and African philosophers, thereby illuminating the resonances and contrasts between diverse intellectual traditions. The upshot is an incisively rich, layered, and textured reading of the archetypal intellectual styles and aesthetic forms that have fired the imagination of intellectuals across the globe. Ochieng’s book is a radical summons to a practice and an imagination of the intellectual life as the realization of good societies and good lives.

Dr. Moshe Feldenkrais is best known for pioneering the somatic therapy that bears his name. Less well known is that he was also one of the earliest European practitioners of the martial art of judo and wrote a number of influential texts on the subject. Primary among these is Higher Judo, first published in 1952 and now reprinted with a new foreword that offers useful context and elaborates on Feldenkrais’ comprehensive—and still timely—approach to the martial art and to the body. Judo was a natural choice for Feldenkrais’s fascination with body/mind exploration and how to promote optimal functioning through awareness. In Higher Judo, he presents judo as the art of using all parts of the body to promote general health, and as part of the “basic culture of the body.” He reveals judo’s potential for creating a sense of rhythm of movement and improving mental and physical coordination. Higher Judo covers specific movements and positions—the astride position, the six o’clock approach, falling techniques—in both the text and the clear line drawings. Even more importantly, it shows how such groundwork can help practitioners develop their mental and physical awareness to their full potential.

In Silence and Listening as Rhetorical Arts,editors Cheryl Glenn and Krista Ratcliffe bring together seventeen essays by new and established scholars that demonstrate the value and importance of silence and listening to the study and practice of rhetoric. Building on the editors’ groundbreaking research, which respects the power of the spoken word while challenging the marginalized status of silence and listening, this volumemakes a strong case for placing these overlooked concepts, and their intersections, at the forefront of rhetorical arts within rhetoric and composition studies. Divided into three parts—History, Theory and Criticism, and Praxes—this book reimagines traditional histories and theories of rhetoric and incorporates contemporary interests, such as race, gender, and cross-cultural concerns, into scholarly conversations about rhetorical history, theory, criticism, and praxes. For the editors and the other contributors to this volume, silence is not simply the absence of sound and listening is not a passive act. When used strategically and with purpose—together and separately—silence and listening are powerful rhetorical devices integral to effective communication. The essays cover a wide range of subjects, including women rhetors from ancient Greece and medieval and Renaissance Europe; African philosophy and African American rhetoric; contemporary antiwar protests in the United States; activist conflict resolution in Israel and Palestine; and feminist and second-language pedagogies. Taken together, the essays in this volume advance the argument that silence and listening are as important to rhetoric and composition studies as the more traditionally emphasized arts of reading, writing, and speaking and are particularly effective for theorizing, historicizing, analyzing, and teaching. An extremely valuable resource for instructors and students in rhetoric, composition, and communication studies, Silence and Listening as Rhetorical Arts will also have applications beyond academia, helping individuals, cultural groups, and nations more productively discern and implement appropriate actions when all parties agree to engage in rhetorical situations that include not only respectful speaking, reading, and writing but also productive silence and rhetorical listening.