Contemporary International Relations is as much a conversation between the living and the dead as it is among the living. Its debates are thoroughly rooted in and shaped by the thought of many bygone minds, both ancient and modern. With this in mind, The Return of the Theorists presents forty imagined dialogues with foundational theorists. They run the gamut from Homer and Confucius to Hedley Bull and Jean Bethke Elshtain, and span almost three millennia of human history, comprising representatives of a variety of cultures. The interviewers consist of more than forty international relations scholars and political theorists. They too cut across cultures, continents and almost three generations, and each is an expert on the work of the thinker invited. The Return of the Theorists will be of interest to anyone who has tried to enter the mind of bygone thinkers in political thought and International Relations.

In The Return of the Real Hal Foster discusses the development of art and theory since 1960, and reorders the relation between prewar and postwar avant-gardes. Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive today. After the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, Foster suggests that we are now witness to a return to the real—to art and theory grounded in the materiality of actual bodies and social sites. If The Return of the Real begins with a new narrative of the historical avant-gard, it concludes with an original reading of this contemporary situation—and what it portends for future practices of art and theory, culture and politics.

From John Maynard Keynes’s prediction of a fifteen-hour workweek to present-day speculation about automation, we have not stopped forecasting the end of work. Critical theory and political philosophy have turned their attention away from the workplace to focus on other realms of domination and emancipation. But far from coming to an end, work continues to occupy a central place in our lives. This is not only because of the amount of time people spend on the job. Many of our deepest hopes and fears are bound up in our labor—what jobs we perform, how we relate to others, how we might flourish. The Return of Work in Critical Theory presents a bold new account of the human significance of work and the human costs of contemporary forms of work organization. A collaboration among experts in philosophy, social theory, and clinical psychology, it brings together empirical research with incisive analysis of the political stakes of contemporary work. The Return of Work in Critical Theory begins by looking in detail at the ways in which work today fails to meet our expectations. It then sketches a phenomenological description of work and examines the normative premises that underlie the experience of work. Finally, it puts forward a novel conception of work that can renew critical theory’s engagement with work and point toward possibilities for transformation. Inspired by Max Horkheimer’s vision of critical theory as empirically informed reflection on the sources of social suffering with emancipatory intent, The Return of Work in Critical Theory is a lucid diagnosis of the malaise and pathologies of contemporary work that proposes powerful remedies.

A comprehensive treatment of regional transformation, offering insights from different theoretical perspectives and generating a range of policy-relevant ideas.

This book draws on the work of anthropologist Alfred Gell to reinstate the importance of the object in art and society. Rather than presenting art as a passive recipient of the artist's intention and the audience's critique, the authors consider it in the social environment of its production and reception. A Return to the Object introduces the historical and theoretical framework out of which an anthropology of art has emerged, and examines the conditions under which it has renewed interest. It also explores what art 'does' as a social and cultural phenomenon, and how it can impact alternative ways of organising and managing knowledge. Making use of ethnography, museological practice, the intellectual history of the arts and sciences, material culture studies and intangible heritage, the authors present a case for the re-orientation of current conversations surrounding the anthropology of art and social theory. This text will be of key interest to students and scholars in the social and historical sciences, arts and humanities, and cognitive sciences.

In an examination of cultural change in the post-Cold War era, this work addresses a series of questions covering topics such as the lack of interest in culture and identity in IR theory, and the case for rethinking the contemporary theoretical reach of the concepts.

This book of ten original essays provides a showcase of currently diverse theoretical agendas in the field of international relations. Contributors address the theoretical analysis that their perspective brings to the issue of change in global politics. Written for readers with a general interest in and knowledge of world affairs, New Thinking in International Relations Theory can also be assigned in international relations theory courses.The volume begins with an essay on the classical tradition at the end of the Cold War. Essays explore work outside the mainstream, such as Jean Bethke Elshtain on feminist theory and James Der Derian on postmodern theory as well as those developing theoretical advances within traditional realms from James DeNardo's formal modeling to the more descriptive analyses of Miles Kahler and Steve Weber. Other essays include Matthew Evangelista on domestics structure, Daniel Deudney on naturalist and geopolitical theory, and Joseph Grieco on international structuralist theory.