What does imagination do for our perception of the world? Why should reality be broken off from our imagining of it? It was not always thus, and in these essays, Tim Ingold sets out to heal the break between reality and imagination at the heart of modern thought and science. Imagining for Real joins with a lifeworld ever in creation, attending to its formative processes, corresponding with the lives of its human and nonhuman inhabitants. Building on his two previous essay collections, The Perception of the Environment and Being Alive , this book rounds off the extraordinary intellectual project of one of the world’s most renowned anthropologists. Offering hope in troubled times, these essays speak to coming generations in a language that surpasses disciplinary divisions. They will be essential reading not only for anthropologists but also for students in fi elds ranging from art, aesthetics, architecture and archaeology to philosophy, psychology, human geography, comparative literature and theology.

The current education climate has brought the development of classroom drama as an art form to a standstill. Practitioners need to make a qualitative leap forward in both theory and practice in order to respond to the cultural demands of the times.By linking the best of the ground-breaking work of Dorothy Heathcote and Gavin Bolton with the pioneering developments in theatre form by the playwright Edward Bond, David Davis identifies a possible way forward. In part one he critiques present drama in education - Mantle of the Expert approaches, conventions drama forms and post-dramatic theatre. In part two he restates and develops the best practice of the last fifty years, centring on the key importance of 'living through' drama. In part three he applies the new drama/theatre form of Edward Bond to begin building a new theory of drama in education and so transform classroom practice. Imagining the Real will be essential reading for drama students at first and higher degree level, students on initial courses of teacher education, drama teachers, lecturers in higher and further education and theatre workers generally.

Contributors discuss early printed books and manuscripts between the 14th and 16th centuries under the section headings of: 'Imagined compilers and editors', 'Imagined patrons and collectors', Imagined readings and readers' and 'Beyond the book: verbal and visual cultures'.

Rising inequality of income and power, along with recent convulsions in the finance sector, have made the search for alternatives to unbridled capitalism more urgent than ever. Yet few are attempting this task-most analysts argue that any attempt to rethink our social and economic relations is utopian. Erik Olin Wright's major new work is a comprehensive assault on the quietism of contemporary social theory. A systematic reconstruction of the core values and feasible goals for Left theorists and political actors, Envisioning Real Utopias lays the foundations for a set of concrete, emancipatory alternatives to the capitalist system. Characteristically rigorous and engaging, this will become a landmark of social thought for the twenty-first century.

In Imaging Reality: The Faber Book of Documentary, Oscar-winning documentary-maker Kevin Macdonald ( One Day in September, Touching the Void) and leading broadcaster/historian Mark Cousins ( The Story of Film) offer an expanded, revised edition of their 'definitive, inspirational' ( Independent) compendium on the roots and history of the documentary film. Imagining Reality takes the reader on a tour of the evolution of documentary film as an increasingly vibrant, polemical, experimental and entertaining form. It gathers a wide-ranging collection of writings by and about such groundbreaking documentary-makers as Vertov, Flaherty, Marcel Ophuls, Chris Marker, Kieslowski, Claude Lanzmann, and Nick Broomfield. The story is carried up to date by attention to the success documentaries have had among mainstream movie audiences in recent years, including Michael Moore's Bowling For Columbine and Fahrenheit 9/11, The Buena Vista Social Club, Spellbound, Capturing The Friedmans, Être Et Avoir, and The Fog Of War.

As the resourceful, relentless Li tracks her lost daughter across a disintegrating country, the journey will test the limits of her trust, her hope and her love. Unsheltered will leave you wrung out and gasping. Relentlessly propulsive and profoundly moving, Unsheltered taps into some of our worst fears and most implacable motivations, marking the emergence of a fully-formed and urgent literary voice. Against a background of social breakdown and destructive weather, Unsheltered tells the story of a woman's search for her daughter. Li never wanted to bring a child into a world like this but now that eight-year-old Matti is missing, she will stop at nothing to find her. As she crosses the great barren country alone and on foot, living on what she can find and fuelled by visions of her daughter just out of sight ahead, Li will have every instinct tested. She knows the odds against her: an uncompromising landscape, an uncaring system, time running out, and the risks of any encounters on the road. But her own failings and uncertainty might be the greatest obstacle of all. Because even if she finds her, how can she hope to shield Matti from the future? At times tender, at times terrifying, Unsheltered is an engrossing, unpredictable novel that keeps the reader in suspense all the way to the end. A brilliant feat of imagination that asks if our humanity is the only protection we have left, Unsheltered will affect you in ways a book hasn't done in years.

Works of fiction are works of the imagination and for the imagination. Gregory Currie energetically defends the familiar idea that fictions are guides to the imagination, a view which has come under attack in recent years. Responding to a number of challenges to this standpoint, he argues that within the domain of the imagination there lies a number of distinct and not well-recognized capacities which make the connection between fiction and imagination work. Currie then considers the question of whether in guiding the imagination fictions may also guide our beliefs, our outlook, and our habits in directions of learning. It is widely held that fictions very often provide opportunities for the acquisition of knowledge and of skills. Without denying that this sometimes happens, this book explores the difficulties and dangers of too optimistic a picture of learning from fiction. It is easy to exaggerate the connection between fiction and learning, to ignore countervailing tendencies in fiction to create error and ignorance, and to suppose that claims about learning from fiction require no serious empirical support. Currie makes a case for modesty about learning from fiction -- reasoning that a lot of what we take to be learning in this area is itself a kind of pretence, that we are too optimistic about the psychological and moral insights of authors, that the case for fiction as a Darwinian adaptation is weak, and that empathy is both hard to acquire and not always morally advantageous.