The Three Paradoxes is an intricate and complex autobiographical comic by one of the most talented and innovative young cartoonists today. The story begins with a story inside the story: the cartoon character Paul Hornschemeier is trying to finish a story called "Paul and the Magic Pencil." Paul has been granted a magical implement, a pencil, and is trying to figure out what exactly it can do. He isn't coming up with much, but then we zoom out of this story to the creator, Paul, whose father is about to go on a walk to turn off the lights in his law office in the center of the small town. Abandoning the comic strip temporarily, Paul leaves with his camera, in order to fulfill a promise to his girlfriend that he would take pictures of the places that affected him as a child. Each "chapter" of the story is drawn in a completely different style, with strikingly unique production and color themes, and yet, somehow, despite (or perhaps because of) this non-linear progression, it all comes together as one story: a story questioning change, progress, and worth within the author's life.

Revolution must of necessity borrow, from what it wants to destroy, the very image of what it wants to possess.—Roland Barthes In the field of contemporary literary studies, Roland Barthes remains an inestimably influential figure—perhaps more influential in America than in his native France. The Three Paradoxes of Roland Barthes proposes a new method of viewing Barthes’s critical enterprise. Patrizia Lombardo, who studied with Barthes, rejects an absolutist or developmental assessment of his career. Insisting that his world can best be understood in terms of the paradoxes he perceived in the very activity of writing, Lombardo similarly sees in Barthes the crucial ambiguity that determines the modern writer—an irresistible attraction for something new, different, breaking with the past, yet also an unavoidable scorn for the contemporary world. Lombardo demonstrates that her mentor’s critical endeavor was not a linear progression of thought but was, as Barthes described his work, a romance, a “dance with a pen.”

Paradoxes are arguments that lead from apparently true premises, via apparently uncontroversial reasoning, to a false or even contradictory conclusion. Paradoxes threaten our basic understanding of central concepts such as space, time, motion, infinity, truth, knowledge, and belief. In this volume Roy T Cook provides a sophisticated, yet accessible and entertaining, introduction to the study of paradoxes, one that includes a detailed examination of a wide variety of paradoxes. The book is organized around four important types of paradox: the semantic paradoxes involving truth, the set-theoretic paradoxes involving arbitrary collections of objects, the Soritical paradoxes involving vague concepts, and the epistemic paradoxes involving knowledge and belief. In each of these cases, Cook frames the discussion in terms of four different approaches one might take towards solving such paradoxes. Each chapter concludes with a number of exercises that illustrate the philosophical arguments and logical concepts involved in the paradoxes. Paradoxes is the ideal introduction to the topic and will be a valuable resource for scholars and students in a wide variety of disciplines who wish to understand the important role that paradoxes have played, and continue to play, in contemporary philosophy.

A paradox can be defined as an unacceptable conclusion derived by apparently acceptable reasoning from apparently acceptable premises. Many paradoxes raise serious philosophical problems, and they are associated with crises of thought and revolutionary advances. The expanded and revised third edition of this intriguing book considers a range of knotty paradoxes including Zeno's paradoxical claim that the runner can never overtake the tortoise, a new chapter on paradoxes about morals, paradoxes about belief, and hardest of all, paradoxes about truth. The discussion uses a minimum of technicality but also grapples with complicated and difficult considerations, and is accompanied by helpful questions designed to engage the reader with the arguments. The result is not only an explanation of paradoxes but also an excellent introduction to philosophical thinking.

'This sentence is false'. Is it? If a hotel with an infinite number of rooms is fully occupied, can it still accommodate a new guest? How can we have emotional responses to fiction, when we know that the objects of our emotions do not exist?

An interdisciplinary study of nationalism drawing on the events of the French Revolution.