Based on the author's doctoral dissertation--New York University.

Guerin's classic anthology of anarchism translated and reprinted, available for the first time in a single volume.

At the intersection of politics and religion is a nexus of belief in doctrine and adherence to socio-political cultural conventions. Lines of communication and methods of belonging permeate both spheres, enabling their respective participants, especially the (often self-described) ‘true believers’, to bond and belong, and most importantly to adhere to their various belief systems. Traditionally, this nexus has been approached from a standpoint that posits the idea of secularity as the governing principle. The authors in this volume challenge this orthodoxy. They examine a diverse range of historical and geographic locations involving markedly different religious and political movements. They explore how nation-states develop political religions, how they actively promote a politics infused with religiosity, and how they transfer symbols and meanings from one socio-political construct to another. Despite markedly different philosophical differences, the contributors repudiate the currently dominant orthodoxies on the relationship between religion and politics. They demonstrate that ‘secular’ democracy is not radically separate from religion. Nation-states actively participate in the construction of this nexus even as they extol their commitment to secular values. In so doing, they demonstrate that secularity as it is currently understood remains deeply implicated in the nexus between religion and politics in the twenty-first century.

Michael Haneke, whose films include 'The Piano Teacher' and 'The White Ribbon', has emerged over the past 15 years as a major figure in world cinema. This collection of essays offers a criticial inquiry & close formal analysis of his work, noted for its philosophical, historical & stylistic complexity.

Was anarchism in areas outside of Europe an import and a script to be mimicked? Was it perpetually at odds with other currents of the Left? The authors in this collection take up these questions of geographical and political peripheries. Building on recent research that has emphasized the plural origins of anarchist thought and practice, they reflect on the histories and cultures of the antistatist mutual aid movements of the last century beyond the boundaries of an artificially coherent Europe. At the same time, they reexamine the historical relationships between anarchism and communism without starting from the position of sectarian difference (Marxism versus anarchism). Rather, they look at how anarchism and communism intersected; how the insurgent Left could appear—and in fact was—much more ecumenical, capacious, and eclectic than frequently portrayed; and reveal that such capaciousness is a hallmark of anarchist practice, which is prefigurative in its politics and antihierarchical and antidogmatic in its ethics. Copublished the with Institute for Comparative Modernities, this collection includes contributions by Gavin Arnall, Mohammed Bamyeh, Bruno Bosteels, Raymond Craib, Silvia Rivera Cusicanqui, Geoffroy de Laforcade, Silvia Federici, Steven J. Hirsch, Adrienne Carey Hurley, Hilary Klein, Peter Linebaugh, Barry Maxwell, David Porter, Maia Ramnath, Penelope Rosemont, and Bahia Shehab.

Drawing on the work of contemporary French philosopher Jean-Luc Nancy, Cinema and Contact investigates the aesthe-tics and politics of touch in the cinema of three of the most prominent and distinctive filmmakers to have emerged in France during the last fifty years: Robert Bresson, Marguerite Duras and Claire Denis. Countering the domi-nant critical account of touch elaborated by recent models of embodied spectatorship, this book argues that cinema offers a privileged space for understanding touch in terms of spacing and withdrawal rather than immediacy and continuity. Such a deconstructive configuration of touch is shown here to have far-reaching implications, inviting an innovative rethinking of politics, aesthetics and theology via the textures of cinema. The first study to bring the thought of Nancy into sustained dialogue with a series of detailed analyses of films, Cinema and Contact also forges new interpretative perspectives on Bresson, Duras and Denis, tracing a compelling two-way exchange between cinema and philosophy.

A scientist friend asked Bruno Latour point-blank: “Do you believe in reality?” Taken aback by this strange query, Latour offers his meticulous response in Pandora’s Hope. It is a remarkable argument for understanding the reality of science in practical terms. In this book, Latour, identified by Richard Rorty as the new “bête noire of the science worshipers,” gives us his most philosophically informed book since Science in Action. Through case studies of scientists in the Amazon analyzing soil and in Pasteur’s lab studying the fermentation of lactic acid, he shows us the myriad steps by which events in the material world are transformed into items of scientific knowledge. Through many examples in the world of technology, we see how the material and human worlds come together and are reciprocally transformed in this process. Why, Latour asks, did the idea of an independent reality, free of human interaction, emerge in the first place? His answer to this question, harking back to the debates between Might and Right narrated by Plato, points to the real stakes in the so-called science wars: the perplexed submission of ordinary people before the warring forces of claimants to the ultimate truth.