World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
THU—FRI 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
info@worldfoodbooks.com
Art
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Photography
Fashion
Eros
LGBTQ+
Fiction / Poetry
Weird / Speculative / Science Fiction / Horror
Transgressive / Visceral / Abject
Symbolism / Decadence / Fin de siècle
Film / Video
Painting
Sculpture / Installation
Performance / Dance / Theater
Drawing
Sound / Music
Curatorial
Group Shows / Collections
Periodicals
Out-of-print / Rare
Posters / Ephemera / Discs
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Photography
Japanese Photography
Conceptual Art
Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
Ceramics / Glass
Counterculture
Protest / Revolt
Anarchism
Socialism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1990, English
Softcover, 256 pages, 19.7 x 12.5 cm
1st Edition, Out of print title / used / very good
Published by
Amok Books / Los Angeles
$25.00 - Out of stock
Revised and updated edition of Nietzsche's suppressed final work, published in 1990 by AMOK, Los Angeles, including New Textual Research Supporting Its Authenticity, and Translations of His Last Letters.
Written in the mental institution of Jena following his celebrated mental collapse in Turin, and smuggled out by a fellow inmate to avoid the tyrannical eye of his sister (with whom he admits to an incestuous relationship), My Sister and I is Nietzsche's confessional and reflective counterpoint to the megalomania and stridency of Ecce Homo.
"The style of My Sister and I is that of Ecce Homo. With one difference. The hammer has fallen out of the hand of the author of The Antichrist, and is replaced by a clenched, naked fist. It is the record of the rounding out of one of the earth's most glorious and hopeless lives. Hardly a nice story, the reader will think from chapter to chapter But neither is the story of the Crucifixion a nice story. Where our human life shows up at the seams it is never a spectacle to expand our paunches." - Oscar Levy, from the
"The case of My Sister and I remains open to scrutiny, and the book itself remains catalogued as the last work of Friedrich Nietzsche." - Walter K. Stewart, from his essay "My Sister and I: The Disputed Nietzsche"
"If I have one talent it is to make people angry. I make a rainbow of urine over the world and, in such matters, the world is never slow to reciprocate." - Friedrich Nietzsche from My Sister and I
VG—NF copy.
1970, English
Softcover, 592 pages, 23.29 x 15.19 cm
1st Edition, Out of print title / used / good
Published by
Yale University Press / New Haven
$35.00 - In stock - Add to cart
If Paul Ricoeur is correct in seeing the various currents of contemporary philosophy all converging on the problem of a "grand philosophy of language," then the first sixty pages of this absorbing study of Freud may become the rallying point from which future work can begin. This first part of Freud and Philosophy, "Problematic," presents a profound and clear theory of signification, symbol, and interpretation. The second part, "A Reading of Freud," is required reading for anyone seriously interested in psychoanalysis. The third section interpretation of Ricoeur's own theory of symbol―particularly religious symbol―which places this study at the center of contemporary debate over the sense of myth.In this book are revealed Ricoeur the philosopher of language; Ricoeur the critic of Freud; and Ricoeur the theologian of religious symbol. The author is outstanding in all three roles, and the book that emerges is of rare profundity, enormous scope, and complete timeliness.
Paul Ricoeur is professor of philosophy at the University of Paris.
“Paul Ricouer…has done a study that is all too rare these days, in which one intellect comes to grips with another, in which a scholar devotes himself to a thoughtful, searching, and comprehensive study of a genius…The final result is a unique survey of the panorama of Freudian thought by an observer who, although starting from outside, succeeds in penetrating to its core.” –American Journal of Psychiatry
“Primarily an inquiry into the foundations of language and hermeneutics…[Ricoeur uses] the Freudian ‘hermeneutics of suspicion’ as a corrective and counter-balance for phenomenology and create a ‘new phenomenology’…This important work…should have an impact upon serious thinking in philosophy, theology, psychology, and other areas which have been affected by Freud studies.”―International Philosophical Quarterly
“A stimulating tour de force that allows us to envisage both the psychoanalytic body of knowledge and the psychoanalytic movement in a broad perspective within the framework of its links to culture, history and the evolution of Western intellectual thought.” – Psychoanalytic Quarterly
Paul Ricoeur is a professor of philosophy at the University of Chicago and the University of Paris.
Good copy with general light wear to extremities.
1990, English
Softcover, 256 pages, 23 x 15 cm
1st Edition, Out of print title / used / very good
Published by
State University of New York Press / New York
$20.00 - In stock - Add to cart
This is the first full-length study of the impact of Friedrich Nietzsche's writings on the thought of French philosopher Michel Foucault. Focusing on the notion of genealogy in the thought of both Nietzsche and Foucault, the author explores the three genealogical axes-truth, power, and the subject-as they gradually emerge in Foucault's writings. This complex of axes into which Foucault was drawn, especially as a result of his early history of madness, called forth his explicit adoption of a Nietzschean approach to his future work.
By interpreting Foucault's Histoire de la folie in the light of Nietzsche's genealogy of tragedy, Mahon shows how the moral problematization of madness in history provides the historical conditions from which the three axes emerge. After tracing the gradual emergence of the three axes through Foucault's writings of the remainder of the 1960s, especially Les Mots et les choses, Mahon turns to Foucault's explicit methodological statements and his notion of genealogy and offers a reading of Foucault's L'archeologie du savoir, arguing that there is no chasm between Foucault's archaeological writings and his genealogies.
The work concludes with an analysis of Foucault's final writings on the genealogy of modern subjectivity and an examination of how truth, power, and the subject operate for the modern psychoanalytic subject of desire.
"There has long been a need to overcome the view that Foucault is totally unique, a philosophical eccentricity. In exploring him as a Nietzschean, Mahon meets this need in a very close reading of Foucault and one which is extremely well written.
"I regard it as very important for the world of scholarship about Foucault, but also for Nietzsche. Mahon shows that Nietzsche himself can lead to an important style of concrete critique.
"While such careful—and needed—textual analysis could be dull, the fact that the subject matter is Nietzsche and Foucault makes that careful reading fascinating in its own right. In addition to its scholarly contribution, the material is so fascinating and the text so well written that the book should appeal to a fairly general academic audience." — James Bernauer, Boston College
VG copy light cover wear.
2000, English
Softcover, 244 pages, 23.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
The Athlone Press / UK
$25.00 - In stock - Add to cart
"A tour de force that reclaims Derrida from the legions of unselfconscious parodists of Derridean style. The range of Norris's reference is truly impressive, from philosophy, to politics, to science, and his repositioning of deconstruction as part of the unfinished project of modernity is as persuasive as it is innovative. Arguably the best expositor of Derrida's work that we have."—JOHN DRAKAKIS
Deconstruction has been widely and damagingly misunderstood. In this provocative new book, Christopher Norris challenges the prevalent idea that deconstruction is merely a more specialized philosophical offshoot of those various trends and cultural fashions grouped under the label of 'postmodernism'.
Through a close engagement with some key thinkers among them Derrida, Foucault, de Man, Habermas, Lyotard and Levinas Norris argues that deconstruction is a part of the 'unfinished project of modernity', a project whose interests and values it upholds precisely by continuing to question them in a spirit of enlightened self-critical enquiry.
Assessing the impact of postmodernist thought across a range of disciplines, his book presents a lucid analysis and guide to recent developments in the field. It will be regarded as a main point of reference for students of deconstruction and for those with an interest in the problems and prospects of critical theory.
Christopher Norris is Distinguished Research Professor in Philosophy at the University of Cardiff. His many publications include Deconstruction: Theory and Practice (1982), Jacques Derrida (1987), The Truth about Postmodernism (1993), New Idols of the Cave (1997), Resources of Realism (1997), Against Relativism (1997) and Quantum Theory and the Flight from Realism (2000).
VG copy.
1992, English
Softcover, 386 pages, 21.5 x 13.5 cm
Out of print title / used / very good
Published by
Princeton University Press / New York
$25.00 - In stock - Add to cart
1992 Princeton edition.
Among the most influential books on tragedy written in the past half-century, Walter Kaufmann's Tragedy and Philosophy develops a bold poetics based on the author's critical reexamination of the views of Plato, Aristotle, Hegel, and Nietzsche. Not only does this book reveal ancient Greek tragedy as surprisingly modern and experimental, but it also recasts such concepts as mimesis and catharsis, "pity and fear," hubris, the tragic collision, and the "death of tragedy."
"Walter Kaufmann . . . is a philosopher with a penchant for the kind of fresh thinking that philosophers rarely do. Here he has attempted a searching analysis of the essence of tragedy. He offers a new definition and, without raising his voice, his version of poetics as against that of Aristotle." —The New York Times
"The book as a whole is a tribute to the author's impressive scholarly and critical virtuosity." —Classical Philology
Walter Kaufmann (1921-1980) was Professor of Philosophy at Princeton University. This book is the third in a trilogy that includes his Critique of Religion and Philosophy and From Shakespeare to Existentialism. Kaufmann is also the author of Nietzsche: Philosopher, Psychologist, Antichrist.
Very Good copy with corner crease to back cover corner top.
1968, English
Softcover, 576 pages, 20.5 x 13 cm
Reprint?,
Out of print title / used / very good
Published by
Vintage / UK
$20.00 - In stock - Add to cart
Represents a selection from Nietzche's notebooks to find out what he wrote on nihilism, art, morality, religion, and the theory of knowledge, among others. Edited by Walter Kaufmann.
Nietzsche's notebooks, kept by him during his most productive years, offer a fascinating glimpse into the workshop and mind of a great thinker, and compare favorably with the notebooks of Gide and Kafka, Camus and Wittgenstein. The Will to Power, compiled from the notebooks, is one of the most famous boooks of the philosophy. Here is the first critical edition in any language.
Down through the Nazi period The Will to Power was often mistakenly considered to be Nietzche's crowning systematic labor; since World War II it has frequently been denigrated. In fact, it represents a stunning selection from Nietzsche's notebooks, in a a topical arrangement that enables the reader to find what Nietzsche's wrote on a variety of subjects.
Walter Kaufmann, in collaboration with R. J. Holilngdale, brings to this volume his unsurpassed skills as a Nietzsche translator and scholar. Professor Kaufmann has included an approximate date of each note. His running footnote commentary offers information needed to follow Nietzsche's train of thought, and indicates, among other things, which notes were eventually superseded by later formulations. The comprehensive index serves to guide the reader to the extraordinary riches of this book.
VG copy, light wear, foxing/tanning.
1975, English
Softcover, 532 pages, 23.5 x 15.5 cm
Out of print title / used / good
Published by
Princeton University Press / New York
$30.00 - In stock - Add to cart
"The fourth edition of this major work includes a new preface and a new section at the end of the book. Professor Kaufmann has also extensively updated the bibliography and has made dozens of changes throughout the text, some of which affect the interpretation of major ideas, such as the death of God.
Comments on first edition:
"A work of great superiority over everything previous- ly achieved in Nietzsche criticism and interpretation."—Thomas Mann
"This is the most sensible exposition of Nietzsche's philosophy ever made."—A.J.P. Taylor, The New Statesman and Nation
"An important historical and philosophical contri- bution. Mr. Kaufmann's analysis of Nietzsche's life, thought, and influence is extremely well-informed, thorough, and searching, and rids us of many inter- pretations due to popularized Nietzscheanism. Indispensable for anyone concerned with Nietzsche."—Jacques Maritain
"No attempt at paraphrase could bring out the compact richness of this book."—Crane Brinton, The Saturday Review
"Mr. Kaufmann has produced what may be the defini- tive study of Nietzsche's life and thought-an informed, scholarly, and lustrous work."—The New Yorker
Good copy, light wear/age.
1992, English
Softcover, 224 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Polity / US
$20.00 - In stock - Add to cart
This book offers a systematic attempt to explore the point of convergence between feminist theory and the work of Michel Foucault.
Lois McNay is the author of Foucault and Feminism: Power, Gender and the Self, published by Wiley.
'Thought-provoking account.'—Times Higher Education Supplement
'Lois McNay has produced an attractively clear and critical account of how feminists might use Foucault's last works.'—Sociology
'It offers a clearly written and thorough, critical survey of Foucault's last publications. This, in turn, is balanced by a wide-ranging and equally critically review of recent developments within contemporary feminist ethical theory. It is well worth the read!!'—Women's Philosophy Review
'This is an excellent book, lucid, carefully argued, sympathetically critical and a great pleasure to read.'—Jeffrey Weeks, South Bank University
VG copy.
1992, English
Softcover, 460 pages, 23.5 x 15.5 cm
1st Edition, Out of print title / used / good
Published by
Manchester University Press / Manchester
$50.00 - In stock - Add to cart
First 1992 edition, long out-of-print.
In 1846, Edgar Allen Poe wrote that 'the death of a beautiful woman is, unquestionably, the most poetic topic in the world'. The conjuction of death, art and femininity forms a rich and disturbing strata of Western culture, explored here in fascinating detail by Elisabeth Bronfen. Her examples range from Carmen to Little Nell, from Wuthering Heights to Vertigo, from Snow White to Frankenstein. The text is richly illustrated throughout with thirty-seven paintings and photographs.
The argument that this book presents is that narrative and visual representations of death can be read as symptoms of our culture and because the feminine body is culturally constructed as the superlative site of "other" and "not me", culture uses art to dream the deaths of beautiful women.
'Aside from the originality-or fearful finality -of its arguments, the book will be invaluable as an introduction to the use of psychoanalysis in the interpretation of cultural texts'—New Statesman & Society
'[Death] faces a similar taboo in our century to the one that sex suffered in the last... [Bronfen] addresses an important silence in contemporary culture'—The Times
Elisabeth Bronfen is Professor of English and American Studies at the University of Zurich
Good copy with some creasing (spine, corners).
1994, English
Softcover, 372 pages, 23 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Blackwell / Oxford
Blackwell / Cambridge
$20.00 - In stock - Add to cart
No project holds a more prominent place in the development of modern European thought than critical theory. Usually associated with various members of the Frankfurt Institute for Social Research of the 1920s and 1930s, critical theory has been enormously influential and quite controversial in its manifold claims.
Of Critical Theory and its Theorists provides unique interpretations of critical theory's most important representatives: Georg Lukács, Walter Benjamin, Theodor W. Adorno, Herbert Marcuse, Erich Fromm, Jürgen Habermas, and others.
Inspired by the interdisciplinary character of the original enterprise, Stephen Bronner ranges across many fields, from philosophy and aesthetics to politics and anthropology, reconstructing the radical aims of critical theory, and evaluating its successes, its failings, and its legacy.
Of Critical Theory and its Theorists offers a panoramic view of an exciting tradition, and a bold new perspective, from one of America's most prominent analysts of continental politics and philosophy.
"Has the foundation of critical theory been withdrawn with the collapse of communism? Stephen Eric Bronner argues the opposite: only now, liberated from marxian dogmatism, can a genuine critique of modern society begin. He develops his ideas in an immanent and emancipatory confrontation with critical theory and its proponents. A brilliant book! Don't miss it!"—Ulrich Beck
Stephen Eric Bronner is Professor of Political Science at Rutgers University. His most recent works are Socialism Unbound and Moments of Decision: Political History and the Crises of Radicalism. He has also edited The Letters of Rosa Luxemburg and co-edited, with Douglas Kellner, the collection Critical Theory and Society.
Cover illustration: Paul Klee, Regie, 1930
VG copy.
1990, English
Softcover, 182 pages, 18 x 11.5 cm
1st Edition, Out of print title / used / very good
Published by
Semiotext(e) / Los Angeles
$50.00 - In stock - Add to cart
"The project: to rescue 'communism' from its own disrepute. Once invoked as the liberation of work through mankind's collective action, communism has instead stifled humanity. We who see in communism the liberation of both collective and individual possibilities must reverse that regimentation of thought and desire which terminates the individual."
Translated by Michael Ryan. Includes "Postscript, 1990" by Toni Negri.
Very Good copy.
1997, English
Softcover, 402 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Stanford University Press / Palo Alto
$20.00 - In stock - Add to cart
With the collapse of the bipolar system of global rivalry that dominated world politics after the Second World War, and in an age that is seeing the return of "ethnic cleansing" and "identity politics," the question of violence, in all of its multiple ramifications, imposes itself with renewed urgency. Rather than concentrating on the socioeconomic or political backgrounds of these historical changes, the contributors to this volume rethink the concept of violence, both in itself and in relation to the formation and transformation of identities, whether individual or collective, political or cultural, religious or secular. In particular, they subject the notion of self-determination to stringent scrutiny: is it to be understood as a value that excludes violence, in principle if not always in practice? Or is its relation to violence more complex and, perhaps, more sinister?
Reconsideration of the concepts, the practice, and even the critique of violence requires an exploration of the implications and limitations of the more familiar interpretations of the terms that have dominated in the history of Western thought. To this end, the nineteen contributors address the concept of violence from a variety of perspectives in relation to different forms of cultural representation, and not in Western culture alone; in literature and the arts, as well as in society and politics; in philosophical discourse, psychoanalytic theory, and so-called juridical ideology, as well as in colonial and post-colonial practices and power relations.
The contributors are Giorgio Agamben, Ali Behdad, Cathy Caruth, Jacques Derrida, Michael Dillon, Peter Fenves, Stathis Gourgouris, Werner Hamacher, Beatrice Hanssen, Anselm Haverkamp, Marian Hobson, Peggy Kamuf, M. B. Pranger, Susan M. Shell, Peter van der Veer, Hent de Vries, Cornelia Vismann, and Samuel Weber.
Very Good copy.
1988, English
Softcover, 130 pages, 20.5 x 14 cm
1st Edition, Out of print title / used / fine
Published by
City Lights Books / San Francisco
$30.00 - In stock - Add to cart
First 1988 edition.
Spinoza’s theoretical philosophy is one of the most radical attempts to construct a pure ontology, with a single infinite substance, and all beings as the modes of being of this substance.
This book, which presents Spinoza’s main ideas in dictionary form, has as its subject the opposition between ethics and morality, and the link between ethical propositions and ontological propositions. His ethics is an ethology, rather than a moral science. Recent attention has been drawn to Spinoza by deep ecologists such as Arne Naess, the Norwegian philosopher; and this new reading of Spinoza by Deleuze lends itself to a radical ecological ethic. As Robert Hurley says in his introduction, Deleuze opens us to the idea that the elements of the different individuals we compose may be nonhuman within us. One wonders, finally, whether Man might be defined as a territory, a set of boundaries, a limit on existence.
VG—NF.
1994, English
Softcover, 264 pages, 23.5 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Routledge / London
$25.00 - Out of stock
There is the growing sense that irony has emerged as a mode of expression that is strangely out of vogue. The popular press has veritably written it off as a means of critique (In 1991, "squire" announced "Forget Irony—Have a Nice Decade "). Politicians and pundits seldom use it. And when they do, it tends either to miss its intended mark or, for that matter, induce widespread cognitive failure. Yet, irony is a complex rhetorical move. It depends on deep and shared levels of understanding, knowing namely, that one means what one doesn't mean and that that actually means something else completely. It produces a "scene."
In "Irony's Edge," Linda Hutcheon examines the nature of this "scene." She explores what constitutes irony, how irony functions, in what ways it is political, and how it disrupts the space between expression and understanding. She examines irony not only as an intercommunicative act, but as a discursive practice that is, in many ways, a cultural event, which happens in discrete and often sophisticated ways. She analyzes irony's logic and the way in which it operates in relations to concepts of difference and identity, intentionality and interpretation, and the inappropriate and the appropriate.
She examines these concerns vis-a-vis an array of references gathered from contemporary and modern culture. She looks at works such as the novels of Umberto Eco, the operas and symphonies of Richard Wagner, and the art of Anselm Kiefer. She focuses on popular cultural figures such as Madonna and the recent film of Shakespeare's Henry V.
Her book is one of the first synthesized theoretical accounts of the cultural phenomenology of irony. In "Irony's Edge," Hutcheon elaborates upon her earlier work on parody ("A Theory of Parody") and scutizines the mechanics of irony in fundamentally salient and critical ways.
VG copy.
2017, English
Softcover, 162 pages, 22.6 x 15.1 cm
Published by
The MIT Press / Massachusetts
$48.00 - In stock - Add to cart
Why sexuality is at the point of a "short circuit" between ontology and epistemology.
Consider sublimation-conventionally understood as a substitute satisfaction for missing sexual satisfaction. But what if, as Lacan claims, we can get exactly the same satisfaction that we get from sex from talking (or writing, painting, praying, or other activities)? The point is not to explain the satisfaction from talking by pointing to its sexual origin, but that the satisfaction from talking is itself sexual. The satisfaction from talking contains a key to sexual satisfaction (and not the other way around)-even a key to sexuality itself and its inherent contradictions. The Lacanian perspective would make the answer to the simple-seeming question, "What is sex?" rather more complex. In this volume in the Short Circuits series, Alenka Zupancic approaches the question from just this perspective, considering sexuality a properly philosophical problem for psychoanalysis; and by psychoanalysis, she means that of Freud and Lacan, not that of the kind of clinician practitioners called by Lacan "orthopedists of the unconscious."
Zupancic argues that sexuality is at the point of a "short circuit" between ontology and epistemology. Sexuality and knowledge are structured around a fundamental negativity, which unites them at the point of the unconscious. The unconscious (as linked to sexuality) is the concept of an inherent link between being and knowledge in their very negativity.
1976 / 2000, English
Softcover, 92 pages, 15.3 x 23 cm
Published by
Barrytown Ltd. / US
Station Hill Press / Barrytown
$30.00 - Out of stock
Death Sentence is a philosophical novel by Maurice Blanchot. First published in 1948, it is his second complete work of fiction. This long awaited reprint of a book about which John Hollander wrote: "A masterful version of one of the most remarkable novels in any language since World War II," is the story of the narrator's relations with two women, one terminally ill, the other found motionless by him in a darkened room after a bomb explosion has separated them. "Through more than 40 years, the French writer Maurice Blanchot has produced an astonishing body of fiction and criticism," writes Gilbert Sorrentino in the New York Review of Books, and John Updike in The New Yorker: "Blanchot's prose gives an impression, like Henry James, of carrying meanings so fragile they might crumble in transit."
Translated from French by Lydia Davis
Maurice Blanchot (1907-2003) was a French writer, philosopher, and literary theorist. His work had a strong influence on later post-structuralist theorists such as Jacques Derrida. He is one of the most enigmatic and influential figures in modern French writing yet no interview, no biographical sketch, and hardly any photographs have ever been published of him.
1991, English
Softcover, 276 pages, 242 x 16 cm
1st Edition, Out of print title / used / good
Published by
Yale University Press / New Haven
$35.00 - In stock - Add to cart
Yale French Studies, Number 79, 1991, Edited by Claire Nouvet, featuring the essays of George Bataille, Maurice Blanchot, Jean-Luc Nancy, Cathy Caruth, and many more. Cover artwork by Artaud.
"How does ethics affect literature and literary analysis? In what ways do literature and literary analysis rethink questions that traditionally belong to the field of ethics? What role does the notion of ethics play in the writing process? How can we situate and reassess the return of ethics in contemporary theories? The contributors to this issue among them writers, philosophers, literary critics, and psychoanalysts-evaluate the relationship between ethics and literature. Their diverse approaches range from a discussion of notions of humanity and responsibility to a reading of the Holocaust as it is explored in the film Shoah."
Good copy, general wear.
1985, English
Softcover, 272 pages, 23.5 x 16 cm
1st Edition, Out of print title / used / good
Published by
Yale University Press / New Haven
$25.00 - In stock - Add to cart
Yale French Studies, Number 68, 1985, dedicated entirely to texts on French philosopher, novelist, political activist and existentialist Jean-Paul Sartre (1905—1980), edited by Fredric Jameson.
"Five years after Jean-Paul Sartre's death it is possible to begin the reinterpretation and reevaluation of his work. This means reopening the question of his stature in French intellectual history as, in Fredric Jameson's phrase, 'the Victor Hugo of philosophy'—a role denied him by the generation that followed him. Professor Jameson has assembled eleven stimulating essays and has arranged for the first-time publication of extracts from Sartre's notes for the unwritten fourth volume of The Family Idiot. He has also contributed a provocative and forthright introduction."
Good copy.
1992, English
Softcover, 310 pages, 22.5 x 15 cm
1st Edition, Out of print title / used / fine
Published by
Columbia University Press / New York
$15.00 - In stock - Add to cart
"A persistent criticism of theory in general and of Foucault in particular is that no positive social or ethical consequences result from the practice of theory. Critics from all points on the political spectrum seem to agree on this point. Daniel O'Hara here demonstrates the social uses of interpretation by analyzing the later writings of Foucault and the careers of critics in relation to Foucault's work, including Derrida, Kristeva, Said, Rorty, Harold Bloom, and others.
O'Hara's position is that "doing theory", specifically after Foucault, does have social and ethical consequences, and "radical parody" demonstrates why this is so. It also incorporates into this social context the later work of Kristeva on identification and identity formation. O'Hara shows that "culture is a collective archive of canonical and non-canonical practices of self, a treasure hoard of masks or personnae". For O'Hara, radical parody thus "defines the postmodern experience of the sublime play of discourses in the formation of critical identity". Throughout, O'Hara is interested in what it means to be an "oppositional intellectual", and in what interpretation is and can mean in a culture dominated by a "widespread commodification of intellectual life".
The book concludes with a critical profile of Frank Lentricchia, a critic whose career as an oppositional American intellectual O'Hara finds exemplary.
G—VG copy
1989, English
Softcover, 425 pages, 22.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Blackwell / Oxford
$40.00 - In stock - Add to cart
'Andrew Benjamin asks me for a short very short - foreword for his Lyotard Reader, nothing much, only four or five pages. Just like that, quite casually. As though it was the most natural thing in the world. But there's nothing natural at all about this Lyotard Reader, or about the idea that Lyotard himself should write a foreword for the Reader. You say foreword. Let him say a word before you read his words. A key word that gives the reader, a key to the words in the Reader...' Jean-Francois Lyotard from the foreword
Jean-François Lyotard was one of the founding members of the Collège internationale de philosophie. He has taught at Vincennes, Saint Denis and is currently Professor of Philosophy at the University of California at Irvine. Several of his books have appeared in English, notably The Postmodern Condition, Just Gaming and The Differend.
The Lyotard Reader is a collection of Jean-François Lyotard's most important and significant papers to date. While they are all written from within philosophy, they seek to address subjects as wide-ranging as film, painting (Adami, Francken, Newman), psychoanalysis, Judaism and politics. The originality of Lyotard's work means that it cannot be readily situated within any one philosophical tradition. Instead he returns philosophy itself to debates across a range of areas and, in so doing, redefines the philosophical enterprise.
A number of chapters in The Lyotard Reader appear for the first time in English. This is the most comprehensive collection available of Lyotard's work, work which has profoundly influenced debates on the Enlightenment, on modernity, on postmodernity, on the transmission of information, on literary theory and on philosophy.
Andrew Benjamin is Lecturer in Philosophy at the University of Warwick. He is the author of Translation and the Nature of Philosophy: A New Theory of Words (1989) and, with C. Norris, What Is Deconstruction? (1989). He is the editor of several books, including Poststructuralist Classics (1988) and Problems of Modernity: Adorno and Benjamin (1988).
1991, English
Softcover, 216 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / fine
Published by
Polity / US
$35.00 - In stock - Add to cart
'Lyotard's important new book, The Inhuman, takes up themes from earlier works such as the postmodern and the differend, this time treating them in terms of time and matter. He considers the fascinating question: if our new culture is one of writing at a distance (telegraphy), are not time and matter reconfigured in such a way that we must be "inhuman" and do not, in this situation, our "humanist" philosophies have little to say? Challenging and controversial, The Inhuman will be among the more widely discussed books of the decade.'—Mark Poster, University of California, Irvine
Jean-François Lyotard is one of Europe's leading philosophers, well known for his work The Postmodern Condition. In this important new study he develops his analysis of the phenomenon of postmodernity.
In a wider-ranging discussion the author examines the philosophy of Kant, Heidegger, Adorno and Derrida and looks at the works of modern- ist and postmodernist artists such as Cézanne, Debussy and Boulez. Lyotard addresses issues such as time and memory, the sublime and the avant-garde, and the relationship between aesthetics and politics. Throughout his discussion he considers the close but problematic links between modernity, progress and humanity, and the transition to post- modernity. Lyotard claims that it is the task of literature, philosophy and the arts to bear witness to and explain this difficult transition.
This important contribution to aesthetic and philosophical debates will be of great interest to students in philosophy, literary and cultural theory and politics.
Jean-François Lyotard is Professor Emeritus of philosophy at the Univer- sity of Paris and Professor at the University of California, Irvine.
NF—Fine copy of first 1991 English edition.
1988, English
Softcover, 212 pages, 22.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$35.00 - In stock - Add to cart
"This work is of vital importance in a period when revision- ism of all stripes attempts to rewrite, and often simply deny, the occurrence of historical and cultural events, in attempting to reconstruct 'reality' in the convenient names of 'truth' and 'common sense." French Review
Although less well known than The Postmodern Condition, The Differend is, by his own assessment, Lyotard's most im- portant work. Here, Lyotard scrutinizes Western philosophy's turn toward language, the decline of metaphysics, the intel- lectual retreat of Marxism, and the growing political despair. Taking his point of departure in an analysis of what Auschwitz meant philosophically, Lyotard attempts to sketch out modes of thought for our present.
Jean-François Lyotard is professor of philosophy at the University of Paris-Vincennes. He is the author of The Postmodern Condition, The Postmodern Explained, Heidegger and "the jews," Political Writings, and Just Gaming, all published by the University of Minnesota Press.
Georges Van Den Abbeele is associate professor of French at the University of California, Davis, and the author of Travel as Metaphor, published by the University of Minnesota Press.
Good—VG copy woith
1984, English
Softcover, 112 pages, 22.5 x 15 cm
Published by
University of Minnesota Press / Minnesota
$25.00 - In stock - Add to cart
A foundational essay in twentieth-century critical thought, The Postmodern Condition argues that knowledge-science, technology, and the arts-has undergone a change of status since the nineteenth century and especially since the late 1950s.
"Lyotard's classic argues that postmodernism's 'legitimation crisis' has been precipitated by 'the collapse of meta- narrative'-that is, the supreme (and supremely unified and unifying) fictions we tell ourselves about ourselves."—Voice Literary Supplement
"Lyotard's essay is a welcome addition to the American Critical Scene."—Philosophy and Literature
"Lyotard's thought is as original and as important as those two influential maîtres penseurs of the new human sciences, Derrida and Foucault. Drawing on Freud, Marx, and Saussure, as well as various philosophers from the Greek Sophists to Nietzsche, Lyotard has established for himself an independent perspective as profoundly moral as it is political, philosophical, and literary.... Lyotard explores science and technology, makes connections between these and epistemic, cultural, and political trends, and develops profound insights into the nature of our postmodernity."—IHAB HASSAN, University of Wisconsin-Milwaukee
JEAN-FRANÇOIS LYOTARD is professor emeritus of philosophy at the University of Paris-Vincennes. He is the author of The Postmodern Explained, Heidegger and "the jews," Political Writings, and Just Gaming, all published by the University of Minnesota Press
VG copy.
1992, English
Softcover, 188 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
University of Ottawa Press / Canada
$40.00 - In stock - Add to cart
First 1992 edition. This book provides an unconventional introduction to core philosophical issues by considering and contrasting two brief and accessible but highly influential and representative philosophical works: Descartes' Meditations on First Philosophy and Michel Foucault's The History of Sexuality: works which, in their respective styles and methods offer the most widely divergent paradigms of philosophizing on questions of epistemology.
VG copy with tanning to spine and cover top edge.