In what may be the most in-depth study yet published of a film star's body of work, Susan Hayward charts the career of Simone Signoret, one of the great Frech actresses of the 20th Century.Signoret- who won an Oscar in 1960 for her performance in Room at the Top- was a key figure in French cinema for 40 years. But it is not so much her longevity that impresses, as it is the quality of work she produced as her career progressed. She started out as a stunningly beautiful woman, winning major international awards five times for her roles, and yet was only moderately in demand during those years. From the 1960s onwards, when her looks began to decline significantly, Signoret was in greater demand, and produced most of her output. She insisted on playing roles consonant with her real age, and often chose to play roles that portrayed wher as even more ugly than she had become.Simore Signoret: The Star as Cultural Sign is a remarkable achievement, a labor of love from one of the world's leading scholars of French cinema.

A New York Times Notable BookAn ALA Notable Book "Original and illuminating." --The Washington Post What draws our species to war? What makes us see violence as a kind of sacred duty, or a ritual that boys must undergo to "become" men? Newly reissued in paperback, Blood Rites takes readers on an original journey from the elaborate human sacrifices of the ancient world to the carnage and holocaust of twentieth-century "total war." Ehrenreich sifts deftly through the fragile records of prehistory and discovers the wellspring of war in an unexpected place -- not in a "killer instinct" unique to the males of our species, but in the blood rites early humans performed to reenact their terrifying experiences of predation by stronger carnivores. Brilliant in conception and rich in scope, Blood Rites is a monumental work that continues to transform our understanding of the greatest single threat to human life.

This volume unpacks the psychological insights found in the writings of three early monks--Evagrius Ponticus (fourth century), John Cassian (fifth century), and Gregory the Great (sixth century)--to help us appreciate the relevance of these monastic writers and apply their wisdom to our own spiritual and psychological well-being. The book addresses each of the seven deadly sins, offering practical guidance from the early monastic tradition for overcoming these dangerous passions. As Dennis Okholm introduces key monastic figures, literature, and thought of the early church, he relates early Christian writings to modern studies in psychology. He shows how ancient monks often anticipated the insights of contemporary psychology and sociology, exploring, for example, how their discussions of gluttony compare with current discussions regarding eating disorders. This book will appeal to readers interested in spirituality, early monastic resources, and ancient wisdom for human flourishing, as well as students of spirituality and spiritual formation.

The subject of the passions has always haunted Western philosophy and, more often than not, aroused harsh judgments. For the passions represent a force of excess and lawlessness in humanity that produces troubling, confusing paradoxes.In this book, noted European philosopher Michel Meyer offers a wide-ranging exegesis, the first of its kind, that systematically retraces the history of philosophic conceptions of the passions in the work of such thinkers as Plato, Aristotle, Augustine, Spinoza, Descartes, Hobbes, Rousseau, Kant, and Freud. The great ruptures that led to passion's condemnation as sin, and to its romantic exultation as the truth of existence, are meticulously registered and the logic governing them astutely explicated.Meyer thus provides new insight into an age-old dilemma: Does passion torture people because it blinds them, or, on the contrary, does it permit them to apprehend who and what we really are?

The collection of Barbara and Lawrence Fleischman of New York is one of the most important private collections of ancient Greek and Roman art in the United States and among the most important in the world. Composed of approximately three hundred objects from the Bronze Age to the Late Antique, it includes bronze statuettes, marble sculpture, vases, jewelry, lamps and candelabra, keys, weights, and silver bowls and utensils. The Fleischmans have a particular fascination with pieces associated with everyday life in antiquity, since these objects evoke a human connection to the past. They are also drawn to pieces that exemplify the human propensity to transform a functional object into a thing of beauty. Not only has their emotional response to an object’s aesthetic appeal or its historical significance guided them in their forty years of collecting, personal interests have been at work as well. The large number of pieces related to the theater or representing theatrical subjects reflects Barbara Fleischman’s lifelong love of that art. A Passion for Antiquities contains photographs and extensive catalogue entries on the objects included in the exhibition at the J. Paul Getty Museum and the Cleveland Museum of Art. Eighteen contributors provide art historical and descriptive information about each piece. The objects not selected for the exhibition are detailed in a checklist that specifies their origins, dates, media, and sizes. This book is the first major reference on the entire collection, since most of the objects have never before been publicly shown. To facilitate finding specific objects or groups of objects, the book is organized first chronologically and then by medium. Bibliographic sources for each entry cite both publications where the specific work is discussed as well as references to related scholarship. Karol Wight provides a chronological overview of the collection, and Oliver Taplin relates selected pieces to the development of Greek theater. The exhibition of Barbara and Lawrence Fleischman’s collection and this catalogue allow us to enter into their minds and emotions so that, for a time, we can share their passion for antiquities.

In this volume, Albert Hirschman reconstructs the intellectual climate of the seventeenth and eighteenth centuries to illuminate the intricate ideological transformation that occurred, wherein the pursuit of material interests--so long condemned as the deadly sin of avarice--was assigned the role of containing the unruly and destructive passions of man. Hirschman here offers a new interpretation for the rise of capitalism, one that emphasizes the continuities between old and new, in contrast to the assumption of a sharp break that is a common feature of both Marxian and Weberian thinking. Among the insights presented here is the ironical finding that capitalism was originally supposed to accomplish exactly what was soon denounced as its worst feature: the repression of the passions in favor of the "harmless," if one-dimensional, interests of commercial life. To portray this lengthy ideological change as an endogenous process, Hirschman draws on the writings of a large number of thinkers, including Montesquieu, Sir James Steuart, and Adam Smith. Featuring a new afterword by Jeremy Adelman and a foreword by Amartya Sen, this Princeton Classics edition of The Passions and the Interests sheds light on the intricate ideological transformation from which capitalism emerged triumphant, and reaffirms Hirschman's stature as one of our most influential and provocative thinkers. Some images inside the book are unavailable due to digital copyright restrictions.

Today there is a thriving 'emotions industry' to which philosophers, psychologists and neuroscientists are contributing. Yet until two centuries ago 'the emotions' did not exist. In this path-breaking study Thomas Dixon shows how, during the nineteenth century, the emotions came into being as a distinct psychological category, replacing existing categories such as appetites, passions, sentiments and affections. By examining medieval and eighteenth-century theological psychologies and placing Charles Darwin and William James within a broader and more complex nineteenth-century setting, Thomas Dixon argues that this domination by one single descriptive category is not healthy. Overinclusivity of 'the emotions' hampers attempts to argue with any subtlety about the enormous range of mental states and stances of which humans are capable. This book is an important contribution to the debate about emotion and rationality which has preoccupied western thinkers throughout the eighteenth and nineteenth centuries and has implications for contemporary debates.