Rather than see love as a natural form of affection, Love As Human Freedom sees love as a practice that changes over time through which new social realities are brought into being. Love brings about, and helps us to explain, immense social-historical shifts—from the rise of feminism and the emergence of bourgeois family life, to the struggles for abortion rights and birth control and the erosion of a gender-based division of labor. Drawing on Hegel, Paul A. Kottman argues that love generates and explains expanded possibilities for freely lived lives. Through keen interpretations of the best known philosophical and literary depictions of its topic—including Shakespeare, Plato, Nietzsche, Ovid, Flaubert, and Tolstoy—his book treats love as a fundamental way that we humans make sense of temporal change, especially the inevitability of death and the propagation of life.

I am 27 and have never killed a man but I know the face of death as if heirloom my country memorizes murder as lullaby —from “For Fahd” Textured with the sights and sounds of growing up in East New York in the nineties, to school on the South Side of Chicago, all the way to the olive groves of Palestine, My Mother Is a Freedom Fighter is Aja Monet’s ode to mothers, daughters, and sisters—the tiny gods who fight to change the world. Complemented by striking cover art from Carrie Mae Weems, these stunning poems tackle racism, sexism, genocide, displacement, heartbreak, and grief, but also love, motherhood, spirituality, and Black joy. Praise for Aja Monet: ““[Monet] is the true definition of an artist.” —Harry Belafonte ““In Paris, she walked out onto the stage, opened her mouth and spoke. At the first utterance I heard that rare something that said this is special and knew immediately that Aja Monet was one of the Ones who will mark the sound of the ages. She brings depth of voice to the voiceless, and through her we sing a powerful song.” —Carrie Mae Weems Of Cuban-Jamaican descent, Aja Monet is an internationally established poet, performer, singer, songwriter, educator, and human rights advocate. Monet is also the youngest person to win the legendary Nuyorican Poet’s Café Grand Slam title.

A love poem by Maya Angelou is enhanced with the paintings of Sir Edward Burne-Jones.

An urgent, visionary, and heartfelt collection of essays focused on recovering deeper, time–honored values against the ravages of modern society. . In six elegant, linked literary essays, Berry considers the degeneration of language that is manifest throughout our culture, from poetry to politics, from conversation to advertising, and he shows how the ever–widening cleft between the words and their referents mirrors the increasing isolation of individuals and their communities from the land. “This skillfully conceived book is one of the strongest contemporary arguments for literary tradition: a challenging credo, un–glib, calmly assured, clearly illuminating—and required reading for those seriously interested in the interplay between literature, ethics, and morality.” —Kirkus Reviews “[Berry’s] poems, novels and essays . . . are probably the most sustained contemporary articulation of America’s agrarian, Jeffersonian ideal.” —Publishers Weekly

In this study I will present the intellectual development of Schelling, Holderlin and Hegel during their formative years. Because of their similar social origins, the early thought of these young Swabians, during the 1790's, should be treated as a unit. Their experience as roommates at the Stift in Tiibingen and their close intellectual fellowship throughout the nineties made each extremely responsive to the others ideas. As mem bers of the political elite in Wiirttemberg, their intellectual assumptions were profoundly affected by the crisis of Wiirttemberg and German political society and by the events of the French Revolution in a way ex plicable only in the light of their Swabian heritage. So, for example, seen in the context of HOlderlin's and Schelling's thinking, the genesis of Hegel's earliest mature philosophical assumptions appears to be not so much an event in the history of philosophy as a specific solution to the problems raised by the crisis of his society. The crucial role of Holderlin in the history of German Idealism should also become apparent as a result of this study. For reasons developed in the following, Holderlin's thinking bridged the gap not only between Kantianism and the new philosophy, which was to come to fruition in Hegel's mature thought, but also between the republican and the natio nalist phase in the history of German political thought.

Based on an exhaustive study of the manuscripts and printed editions in which these poems have appeared, the eighth in the series of The Variorum Edition of the Poetry of John Donne presents newly edited critical texts of thirteen Divine Poems and details the genealogical history of each poem, accompanied by a thorough prose discussion. Arranged chronologically within sections, the material is organized under the following headings: Dates and Circumstances; General Commentary; Genre; Language, Versification, and Style; the Poet/Persona; and Themes. The volume also offers a comprehensive digest of general and topical commentary on the Divine Poems from Donne's time through 2012.

A case for literary critics and other humanists to stop wallowing in their aestheticized helplessness and instead turn to poetry, comedy, and love. Literary criticism is an agent of despair, and its poster child is Walter Benjamin. Critics have spent decades stewing in his melancholy. What if instead we dared to love poetry? To choose comedy over Hamlet’s tragedy, romance over Benjamin’s suicide on the edge of France, of Europe, of civilization? Paul Bové challenges young lit critters to throw away their shades and let the sun shine in. Love’s Shadow is his three-step manifesto for a new literary criticism that risks sentimentality and melodrama and eschews self-consciousness. The first step is to choose poetry. There has been since the time of Plato a battle between philosophy and poetry. Philosophy has championed misogyny, while poetry has championed women, like Shakespeare’s Rosalind. Philosophy is ever so stringent; try instead the sober cheerfulness of Wallace Stevens. Bové’s second step is to choose the essay. He praises Benjamin’s great friend and sometime antagonist Theodor Adorno, who gloried in the writing of essays, not dissertations and treatises. The third step is to choose love. If you want a Baroque hero, make it Rembrandt, who brought lovers to life in his paintings. Putting aside passivity and cynicism would amount to a revolution in literary studies. Bové seeks nothing less, and he has a program for achieving it.