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
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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.
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 -
"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 -
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.
2019, English
Softcover, 384 pages, 14 x 21.6 cm
Published by
University of Minnesota Press / Minnesota
$69.00 - In stock -
An archive-based, in-depth analysis of the surreal nature and science movies of the pioneering French filmmaker Jean Painleve
Before Jacques-Yves Cousteau, there was Jean Painleve, a pioneering French scientific and nature filmmaker with a Surrealist's eye. Creator of more than two hundred films, his studies of strange animal worlds doubled as critical reimaginations of humanity. With an unerring eye for the uncanny and unexpected, Painleve and his assistant Genevieve Hamon captured oneiric octopuses, metamorphic crustaceans, erotic seahorses, mythic vampire bats, and insatiable predatory insects.
Zoological Surrealism draws from Painleve's early oeuvre to rethink the entangled histories of cinema, Surrealism, and scientific research in interwar France. Delving deeply into Painleve's archive, James Leo Cahill develops an account of "cinema's Copernican vocation"-how it was used to forge new scientific discoveries while also displacing and critiquing anthropocentric viewpoints.
From Painleve's engagements with Sergei Eisenstein, Georges Franju, and competing Surrealists to the historiographical dimensions of Jean Vigo's concept of social cinema, Zoological Surrealism taps never-before-examined sources to offer a completely original perspective on a cutting-edge filmmaker. The first extensive English-language study of Painleve's early films and their contexts, it adds important new insight to our understanding of film while also contributing to contemporary investigations of the increasingly surreal landscapes of climate change and ecological emergency.
1985, English
Softcover, 304 pages, 23 x 15.2 cm
Published by
University of Minnesota Press / Minnesota
$68.00 - Out of stock
Since the publication of Visions of Excess in 1985, there has been an explosion of interest in the work of Georges Bataille. The French surrealist continues to be important for his groundbreaking focus on the visceral, the erotic, and the relation of society to the primeval. This collection of prewar writings remains the volume in which Bataille’s positions are most clearly, forcefully, and obsessively put forward.
This book challenges the notion of a “closed economy” predicated on utility, production, and rational consumption, and develops an alternative theory that takes into account the human tendency to lose, destroy, and waste. This collection is indispensable for an understanding of the future as well as the past of current critical theory.
Edited by Allan Stoekl
Translated by Allan Stoekl, Carl R. Lovitt, and Donald M. Leslie Jr.
Introduction by Allan Stoekl
Georges Bataille (1897-1962), a librarian by profession, was founder of the French review Critique. He is the author of several books, including Story of the Eye, The Accused Share, Erotism, and The Absence of Myth.
Allan Stoekl is professor of French and comparative literature at Pennsylvania State University and author of Agonies of the Intellectual.
1987 / 2000s, English
Softcover, 518 + 507 pages, 22.4 x 15.3 cm
1st Edition, Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$120.00 - Out of stock
First edition, mid 2000s re-prints of Theweleit's 1987 classic two-volume Male Fantasies as complete set translated from the original German. Volume 1: Women, Floods, Bodies, History; Volume 2: Male Bodies: Psychoanalyzing the White Terror.
Klaus Theweleit's two-volume work Mannerphantasien, published in the late 1970s, has become a contemporary German classic. Male Fantasies dives into the sexual, psychological and sociopolitical foundation of National Socialism as it was manifested in the Weimar Republic, arguing that fascism is not a political or economic phenomenon, but a method to manufacture a specific reality. Unlike any study before it, Male Fantasies centers upon the fantasies that preoccupied a group of men who played a crucial role in the rise of Nazism — The German Freikorps, the precursors of the SA and SS. Theweleit draws upon the novels, letters, and autobiographies of these proto-fascists and their contemporaries. There he discovered how the repudiation of one's own body—and of femininity—became a psychic compulsion associating masculinity with hardness, self-denial, and destruction.
The first volume of Male Fantasies deals primarily with the image of women in the collective unconscious of the fascist warrior—visions reflecting hatred and fear, culminating in a series of liquid metaphors—red tide, lava, mud—that threaten to engulf the male ego. In Volume 2, Theweleit shifts his attention to the male self-image. We are shown how the body becomes a mechanism for eluding the dreaded liquid and the "feminine" emotions associated with it. Armored, organized by mental and physical procedures like the military drill, the male body is transformed into "a man of steel'.' As Theweleit shows, only in war does this body find redemption from constraint.
Theweleit writes in a non orthodox, highly personal and associative style, heavily illustrating his works with incredible cartoons, advertisements, engravings, and posters of the era.
"Theweleit's book asks some key questions for those of us interested in Men's Studies. [It] takes us inside the psyches of men who, in Theweleit's analysis, are not destroying and murdering out of sublimation, but because they want to." — Men's Studies Review
"Klaus Theweleit's book, like the first volume of his massive study, usefully employs psychoanalytic insights in conjunction with the social-historical analyses of Elias, Mary Douglas, Foucault, and others to investigate the formation and nature of the fascist psyche in 1920s Germany, exploring here the male self-image, envisaged as armored against the threat and intrusion of the feminine." — Contemporary Sociology
Klaus Theweleit (b. 1942) is a German sociologist and writer. In 1977–78 he published the two volumes of Male Fantasies, now recognized as a pre-eminent work on the body, war and fascism. In 1990 he published Orpheus (und) Eurydike, the first volume of The Book of Kings, an examination of Western art through male artists’ relationship with women.
As New copies both, 2000s re-prints of first Minnesota edition.
1990, English
Softcover, 170 pagers, 23 x 15 cm
1st Edition, Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$50.00 - Out of stock
First 1990 edition.
"Clarice Lispector...is the premiere Latin American woman prose writer of this century, but because she was a woman and a Brazilian, she has remained virtually unknown in the United States."—New York Times Book Review
The texts that compose this volume were selected from Hélène Cixous's seminars on Clarice Lispector given at the Université de Paris VIII-Vincennes at Saint Denis and at the Université de Philoso phie between 1980 and 1985. They reflect Cixous's ongoing medita tions on problems of reading, writing, difference, and related themes such as exchange and the gift, and love and passion, and trace the influence of Lispector's work on her own development. Reading Lispector from the vantage point of modern theory, Cixous draws her into the mainstream of current debates as she joins her own con temporaries, Michel Foucault, Jacques Derrida, and Julia Kristeva, among others, in questioning the so-called rational, "Cartesian" sub ject and what she perceives to be the increasing power of the social and applied sciences that seek to establish control over the human being. In a mixture of improvisation and logic, of poetry and philoso phy, Cixous pays close attention to Lispector's technique and avoids easy conceptual summaries. She raises questions from Lispector's texts and, in accord with contemporary tactics, follows rather than answers them. Yet the simplicity and transparence are deceptive and her analyses always prove refined and complex.
Edited, translated, and introduced by Verena Andermatt Conley
Hélène Cixous chairs the Center of Research in Feminine Studies at the Université de Paris. A profile author, her works have been trans lated into Danish, German, and English. Verena Andermatt Conley is professor of French and Women's Studies at Miami University Oxford. Ohio. She is the author of Hélène Cixous: Writing the Feminine.
VG—NF copy, light erase-able pencil marginalia only.
1991, English
Softcover, 176 pages, 22.5 x 15 cm
1st Edition, Out of print title / used / fine
Published by
University of Minnesota Press / Minnesota
$45.00 - Out of stock
First 1991 edition.
Readings: The Poetics of Blanchot, Joyce, Kafka, Kleist, Lispector, and Tsvetayeva offers striking and novel textual studies of major literary figures and emergent authors. Selected from Cixous’s seminars taught between 1980 and 1986 at the Universite de Paris VII (Saint-Denis) and at the College International de Philosophie, the texts chronicle the French intellectual scene with its shifting tastes over the decade following May 1986.
In their simple and accessible language, the texts can be read as inspiration for Cixous’s fictional and critical practices. They not only introduce readers to emergent texts from Brazil and Russia, such as Clarice Lispector’s “Foreign Legion” and Marina Tsvetayeva’s “Mother and Music,” but also give new, incisive insights into Joyce’s Portrait of the Artist and Kafka’s “Before the Law.” Drawing from philosophy and psychoanalysis, Readings: The Poetics of Blanchot, Joyce, Kafka, Kleist, Lispector, and Tsvetayeva can be read side-by-side with Reading with Clarice Lispector, as an ongoing meditation on ethics and poetics.
Hélène Cixous is a Jewish-French, Algerian-born feminist well-known as one of the founders of poststructuralist feminist theory along with Luce Irigaray and Julia Kristeva. She is now a professor of English Literature at University of Paris VIII and chairs the Centre de Recherches en Etudes Féminines which she founded in 1974. She has published numerous essays, playwrights, novels, poems, and literary criticism. Her academic works concern subjects of feminism, the human body, history, death, and theatre.
Edited, translated, and introduced by Verena Andermatt Conley
For Cixous, Lispector’s work represents one of the finest examples of ecriture feminine in that she practices, in writing, what Cixous is searching for in her theoretical practice: the giving, spending, and inscribing of pleasure; an apprenticeship in the lessons of life.
VG—NF copy.
1994, English
Softcover, 208 pages, 27 x 15 cm
1st Edition, Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$35.00 - In stock -
First 1994 edition published by University of Minnesota Press.
Focusing on feminist theorists such as Hélène Cixous, Teresa de Lauretis, Julia Kristeva, and Monique Wittig in conjunction with Bakhtin’s concepts of dialogism, heteroglossia, and chronotope, the authors offer close readings of texts from a wide range of multicultural genres, including nature writing, sermon composition, nineteenth-century British women’s fiction, the contemporary romance novel, Irish and French lyric poetry, and Latin American film.
Focusing on feminist theorists such as Hélène Cixous, Teresa de Lauretis, Julia Kristeva, and Monique Wittig in conjunction with Bakhtin’s concepts of dialogism, heteroglossia, and chronotope, the authors offer close readings of texts from a wide range of multicultural genres, including nature writing, sermon composition, nineteenth-century British women’s fiction, the contemporary romance novel, Irish and French lyric poetry, and Latin American film.
Very Good copy.
2000, English
Hardcover (w. dust jacket), 190 pages, 19.6 x 13 cm
1st Edition, Out of print title / used / fine
Published by
University of Minnesota Press / Minnesota
$100.00 - In stock -
First hardcover edition of the first English translation of the essential work on Proust.
In a remarkable instance of literary and philosophical interpretation, the incomparable Gilles Deleuze reads Proust’s work as a narrative of an apprenticeship of a man of letters. Deleuze traces the network of signs laid by Proust (those of love, art, or worldliness) and moves toward an aesthetics that culminates in a meditation on the literary work as a sign-producing “machine”—an operation that reveals the superiority of “signs of art” in a world of signs.
"Deleuze conducts readers on a corollary search that leads to a new and deeper understanding of the network of signs laid down by Proust."—Translation Review
Translated by Richard Howard
Fine copy in Fine dust jacket.
1985, English
Softcover, 160 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$45.00 - Out of stock
First edition of Allan Stoekl's Politics, Writing, Mutilation, published in 1985 by Minnesota Press.
Five twentieth-century French writers played, and continue to play, a pivotal role in the development of literary-philosophical thinking that has come to be known in the United States as post-structuralism. The work of Georges Bataille, Maurice Blanchot, Raymond Roussel, Michel Leiris, and Francis Ponge in the 1930s and 1940s amounts to a prehistory of today's theoretical debates; the writings of Foucault and Derrida in particular would have been unthinkable outside the context provided by these writers. In Politics, Writing, Mutilation, Allan Stoekl emphasizes their role as precursors, but he also makes clear that they created a distinctive body of work that must be read and evaluated on its own terms.
Stoekl's critical readings of their work-selected novels, poems, and autobiographical fragments-reveal them to be battlegrounds not only of disruptive language practices, but of conflicting political drives as well. These irreconcilable tendencies can be defined as progressive political revolution, on the one hand with its emphasis on utility, conservation, and labor; and, on the other hand, a notion of dangerous and sinister production that stresses orgiastic sexuality and delirious expenditure. Caught between these forces is the intellectual of Bataille's time (and indeed of ours), locked in impotence, self-betrayal, and automutilation.
Stoekl develops his critique through dual readings of each writer's central work-the first reading deconstructive, the second a search for the political meaning excluded by a deconstructive approach. Repeating this process on a larger scale, he shows how Derrida and Foucault are indebted to their precursors even while they have betrayed them by stripping their work of political conflict and historical specificity. And he acknowledges that one of the most painful questions faced in prewar and Occupied France-that of the unthinkable guilt and duplicity of the intellectual-may not be as remote from contemporary theoretical concerns as some would have us believe.
"Allan Stoekl teaches french and comparative literature at Yale University. He edited and translated Vision of Excess: Selected Writings of Georges Bataille, 1997-1939, also published by Minnesota. "
VG copy.
1988, English
Softcover, 154 pages, 22.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$70.00 - Out of stock
Since the completion of The History of Madness in 1960, Michel Foucault has been an important figure in the Western intellectual tradition. He was instrumental in making institutions—in both the literal and the abstract sense—the objects of scholarly research. The significance of Foucault's work has generated many studies, but this analysis by Gilles Deleuze is the first by a major philosopher working within the same poststructuralist tradition. Published in France in 1986 and now in its first English translation, Deleuze's work is distinguished by its focus on the conceptual underpinnings of Foucault's extensive writings.
Deleuze, like in his other works on major philosophers, thinks along with Foucault instead of trying to write a guide to his philosophy. The book focuses on the conceptual underpinnings of Foucault's extensive work by considering in depth two of his paradigmatic works, The Archaeology of Knowledge (1969) and Discipline and Punish (1975).
"of all the various studies of Foucault which I know, from Dreyfus and Rabinow to Major-Poetzl to Sheridan, none has the intellectual and personal authority of this book. Deleuze is, after all, an intellec-tual in his own right who not only provides a sense of Foucault, but above all, adapts his friend's work to his own concerns and shows what can be done by thinking seriously along with Foucault rather than trying...to produce a guide or handbook...."—Paul Bove
Translated by Seán Hand
Foreword by Paul A. Bové
VG copy of this rare early English edition.
1990, English
Softcover, 400 pages, 22.5cm x 15 cm
Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$65.00 - Out of stock
1990 English language edition of Gilles Deleuze and Félix Guattari's mighty Anti-Oedipus, published by University of Minnesota Press. With introduction by Michel Foucault.
When it first appeared in France in 1972, Anti-Oedipus was hailed as a masterpiece by some and "a work of heretical madness" by others. Anti-Oedipus was the opening explosion to the post-1968 reaction to the structuralist movement; it remains a primary text of post-structuralism. In his preface, Michel Foucault calls Anti-Oedipus an Introduction to Non-Fascist Living. He refers not just to political fascism but to the fascism that is within us, that causes us to desire our own domination. In the book, philosopher Gilles Deleuze and clinical psychoanalyst Félix Guattari set forth the following theory: Western society's innate herd instinct has allowed the government, the media, and even the principles of economics to take advantage of each person's unwillingness to be cut off from the group. What's more, those who suffer from mental disorders may not be insane, but could be individuals in the purest sense, because they are by nature isolated from society. More than twenty-five years after its original publication, Anti-Oedipus still stands as a controversial contribution to a much-needed dialogue on the nature of free thinking.
Very Good copy of this scarce earlier English edition.
1987 / 1993, English
Softcover, 518 + 507 pages, 22.4 x 15.3 cm
Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$140.00 - Out of stock
Polity 1993 editions of Theweleit's classic two-volume Male Fantasies as complete set translated from the original German. Volume 1: Women, Floods, Bodies, History; Volume 2: Male Bodies: Psychoanalyzing the White Terror.
Klaus Theweleit's two-volume work Mannerphantasien, published in the late 1970s, has become a contemporary German classic. Male Fantasies dives into the sexual, psychological and sociopolitical foundation of National Socialism as it was manifested in the Weimar Republic, arguing that fascism is not a political or economic phenomenon, but a method to manufacture a specific reality. Unlike any study before it, Male Fantasies centers upon the fantasies that preoccupied a group of men who played a crucial role in the rise of Nazism — The German Freikorps, the precursors of the SA and SS. Theweleit draws upon the novels, letters, and autobiographies of these proto-fascists and their contemporaries. There he discovered how the repudiation of one's own body—and of femininity—became a psychic compulsion associating masculinity with hardness, self-denial, and destruction.
The first volume of Male Fantasies deals primarily with the image of women in the collective unconscious of the fascist warrior—visions reflecting hatred and fear, culminating in a series of liquid metaphors—red tide, lava, mud—that threaten to engulf the male ego. In Volume 2, Theweleit shifts his attention to the male self-image. We are shown how the body becomes a mechanism for eluding the dreaded liquid and the "feminine" emotions associated with it. Armored, organized by mental and physical procedures like the military drill, the male body is transformed into "a man of steel'.' As Theweleit shows, only in war does this body find redemption from constraint.
Theweleit writes in a non orthodox, highly personal and associative style, heavily illustrating his works with incredible cartoons, advertisements, engravings, and posters of the era.
"Theweleit's book asks some key questions for those of us interested in Men's Studies. [It] takes us inside the psyches of men who, in Theweleit's analysis, are not destroying and murdering out of sublimation, but because they want to." — Men's Studies Review
"Klaus Theweleit's book, like the first volume of his massive study, usefully employs psychoanalytic insights in conjunction with the social-historical analyses of Elias, Mary Douglas, Foucault, and others to investigate the formation and nature of the fascist psyche in 1920s Germany, exploring here the male self-image, envisaged as armored against the threat and intrusion of the feminine." — Contemporary Sociology
Klaus Theweleit (b. 1942) is a German sociologist and writer. In 1977–78 he published the two volumes of Male Fantasies, now recognized as a pre-eminent work on the body, war and fascism. In 1990 he published Orpheus (und) Eurydike, the first volume of The Book of Kings, an examination of Western art through male artists’ relationship with women.
Very Good copies both.
1985, English / French
Softcover, 152 pages, 23.4 x 15.6 cm
Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$30.00 - In stock -
First 1984 edition, 1995 printing of Mikhail Bakhtin : The Dialogical Principle by Tzvetan Todorov Mikhail Bakhtin : The Dialogical Principle.
"The writings of Mikhail Bakhtin (1895-1975) comprise an intricate and sophisticated set of statements about culture, texts, and meaning. Scholars and students of literature, philosophy, and culture will welcome Tzvetan Todorov's systematic account of the life and work of this major Russian thinker. Bakhtin's remarks on culture reflect his own political experience (including time spent in internal exile) as well as his belief in the interdependence of history, text, and meaning. The implication for poetics of this plurality is what Bakhtin has called "the dialogical principle." Texts (or more accurately, utterances) are inherently poly-phonous: they simultaneously express, reflect, and determine history and meaning. Bakhtin's thinking and writing developed in anything but a systematic way. His works were often published under others' names, and many of them were not published in the order in which they were written, or appeared posthumously. Todorov, while retaining in his text the plurality that characterizes Bakh-tin's own method, presents us with an authoritative biographical essay, a straightforward analysis of and commentary upon the writings themselves, and a complete bibliography of the works of Bakhtin and his circle. Todorov's first chapter clears up many of the elusive details of Bakhtin's life. The remaining chapters analyze some of his themes, including epistemology, linguistics, history of literature, and philosophical anthropology.
"[This study] has all the qualities one has come to expect from Todorov's work over the years: scholarly precision, conceptual elegance, and unusual clarity of exposition."—Michael Holquist, Indiana University.
Tzvetan Todorov (Bulgaria 1939—Paris 2017) was a Bulgarian-French historian, philosopher, structuralist literary critic, sociologist and essayist. He was the author of many books and essays, which have had a significant influence in anthropology, sociology, semiotics, literary theory, intellectual history and culture theory. Among his most influential works is his theory on the fantastic, the uncanny and marvellous.
Very Good copy.
1995, English
Softcover, 256 pages, 23 x 14.9 cm
Published by
University of Minnesota Press / Minnesota
$45.00 - Out of stock
The celebrated scholar Tzvetan Todorov offers a study examining the complex relationship between "ethics" and "history". Exploring such questions as "How does one measure and experience freedom in the depths of society?" and "How does one practise and measure equality among different societies?", Todorov confronts topics ranging from the conquest of America and 19th-century colonialism, to democracy and conflicts of the "self" versus the "other". As he probes the effects of intercultural relationships and the difficulties inherent to the representation of the other, Todorov describes his own experience as a Bulgarian living in France. He also studies a variety of travel narratives from those of Columbus to Amerigo Vespucci to Lamartine, and he analyzes with great clarity the writings of the "ideologues" of both colonialism and anticolonialism. Offering an urgent call to contemporary intellectuals to re-examine their role in society and to integrate values into their work, "The Morals of History" explores the relationship between facts and values, truth and fiction, interpretation and articulation.
Addressed to a broad audience, it should intrigue readers interested in contemporary discussions regarding the outcome of democracy and the future of late capitalism, the persistence of a logic of conquest and ethnocentrism, and the signs which point to emerging fascisms.
Very Good copy.
2011, English
Hardcover (w. dust jacket), 512 pages, 15.2 x 22.9 cm
1st Edition, Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$70.00 - Out of stock
Scarce first English hardcover edition of Discourse, Figure by Jean-Francois Lyotard, published by the University of Minnesota Press in 2011.
Jean-François Lyotard is recognized as one of the most significant French philosophers of the twentieth century. Although nearly all of his major writing has been translated into English, one important work has until now been unavailable. Discourse, Figure is Lyotard's thesis. Provoked in part by Lacan's influential seminars in Paris, Discourse, Figure distinguishes between the meaningfulness of linguistic signs and the meaningfulness of plastic arts such as painting and sculpture. Lyotard argues that because rational thought is discursive and works of art are inherently opaque signs, certain aspects of artistic meaning such as symbols and the pictorial richness of painting will always be beyond reason's grasp. A wide-ranging and highly unusual work, Discourse, Figure proceeds from an attentive consideration of the phenomenology of experience to an ambitious meditation on the psychoanalytic account of the subject of experience, structured by the confrontation between phenomenology and psychoanalysis as contending frames within which to think the materialism of consciousness. In addition to prefiguring many of Lyotard's later concerns, Discourse, Figure captures Lyotard's passionate engagement with topics beyond phenomenology and psychoanalysis to structuralism, semiotics, poetry, art, and the philosophy of language.
Very Good copy in Good dust jacket with some closed tears and creasing.
1992, English
Softcover, 136 pages, 15.6 x 23.4 cm
1st Edition, Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$18.00 $10.00 - Out of stock
Employing an interdisciplinary approach to analyze the complexities of contemporary urban culture, this work examines a diverse range of cultural expressions that may be considered typical of the 1980s, from retro fashion, to Latinization, to the recycling of religious imagery as kitsch. The topics Olalquiaga explores are shown to be exemplary condensations of different cultural currents, and she establishes reception as a vantage point from which to think about city life. "Megalopolis" sees in 1950s and 1960s retro fashion a re-enactment of space-age fears of technological dehumanization, in the resurfacing of kitsch an attempt at recovering emotional intensity, in an aesthetics of death and ruins a lament for the loss of a concrete and organic reality. Consumption is the basis of an unavoidable postmodernity in which the traditional ways of looking at the world have become so many icons; technology is the new language through - or against - which experience is articulated.
Very Good copy with some cover marks, otherwise as new.
1988, English
Softcover, 600 pages, 15.2 x 22.9 cm
1st Edition, Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$55.00 - Out of stock
A philosophical treatise which finds cynicism the dominant mode in contemporary culture.
In 1983, two centuries after the publication of Kant’s Critique of Pure Reason, another philosophical treatise—polemical in nature, with a title that consciously and disrespectfully alludes to the earlier work—appeared in West Germany. Peter Sloterdijk’s Critique of Cynical Reason stirred both critical acclaim and consternation and attracted a wide readership, especially among those who had come of age in the 1960’s. Sloterdijk’s finds cynicism the dominant mode in contemporary culture, in personal institutional settings; his book is less a history of the impulse than an investigation of its role in the postmodern 1970s and 1980s, among those whose earlier hopes for social change had crumbled and faded away. Sloterdijk thus brings into cultural and political discourse an issue which, though central to the mood of a generation, has remained submerged throughout the current debate about modernity and postmodernity.
With Adorno and Horkeimer’s Dialectic of Enlightenment as his primary jumping-off point, Sloterdijk also draws upon, and contends with, the poststructuralist concepts of Deleuze and Guattari. He defines cynicism as enlightened false consciousness—a sensibility “well off and miserable at the same time,” able to function in the workaday world yet assailed by doubt and paralysis; and, as counterstrategy, proposes the cynicism of antiquity—the sensuality and loud, satiric laughter of Diogenes. Above all, Sloterdijk is determined to resist the amnesia inherent in cynicism. The twentieth-century German historical experience lies behind his work, which closes with a brilliant essay on the Weimar Republic—the fourteen years between a lost war and Hitler’s ascent to power, and a time when the cynical mode first achieved cultural dominance.
"Sloterdijk can hardly be surpassed in his imaginative and vivid description of the experiences of a generation. . . . [He] not only wants to describe the thing he himself has experienced so personally, but also to explain it. Inasmuch as he explains the aftermath of the shattered ideals of 1968 with means he borrows from philosophical history, he gleans from the pile of rubble a piece of truth. He calls this truth the cynical impulse."—Jürgen Habermas, in a review of the German edition
Foreword by Andreas Huyssen. Translated by Michael Eldred.
Peter Sloterdijk holds a doctorate in German literature from the University of Hamburg and has published two other books in Germany, on literature of the Weimar Republic and on Nietzsche.
Very Good copy. First 1988 edition.
1986, English
Softcover, 253 pages, 13.8 x 21.6 cm
Published by
University of Minnesota Press / Minnesota
minnes
$65.00 - In stock -
Reprint of the 1986 edition, translated by Hugh Tomlinson and Barbara Habberjam.
A revolutionary work in philosophy and a book about cinema that identifies three principal types of image-movement using examples from the work of a diverse group of filmmakers including Griffith, Eisenstein, Cassavetes, and Altman.
The appearance of Cinema 1 is an exciting event for film study and one that well deserves serious attention and commentary.—Film Quarterly
1986, English
Softcover, 352 pages, 13.8 x 21.6 cm
Published by
University of Minnesota Press / Minnesota
$65.00 - In stock -
Reprint of the 1986 edition, translated by Hugh Tomlinson and Barbara Habberjam.
Brings to completion Deleuze’s work on the implications of the cinematographic image. In Cinema 2, Deleuze explains why, since World War II, time has come to dominate film. Among the filmmakers discussed are Rossellini, Fellini, Godard, Resnais, Pasolini, and many others.
1989, English
Softcover, 200 pages, 15.2 x 22.9 cm
1st Edition, Out of print title / as new
Published by
University of Minnesota Press / Minnesota
$40.00 - In stock -
Construction of the Aesthetic intends to recuperate the sphere of the aesthetic from the dialectic of existence: 'not to forget in dreams the present world, but to change it by the strength of an image.' Editorial Reviews Philosopher, sociologist, and musicologist, Adorno (1903-1969) published this as his first major work in 1933. By then he had been studying Kierkegaard for nearly 20 years and would continue to refer to the life and work of the 19th-century Dane throughout his own intellectual career. For Kierkegaard, the aesthetic is the first of three stages in one's interior development, and Adorno concerns himself with revealing the not-always-conscious course by which Kierkegaard came to this formulation. While of importance to scholars of existentialism, intellectual history, and Adorno, this book is not for lay readers.—Francisca Goldsmith, Berkeley P.L., Cal.
Theodor W. Adorno (1903—1969) was a German philosopher, sociologist, psychologist, musicologist, and composer. He was a leading member of the Frankfurt School of critical theory, whose work has come to be associated with thinkers such as Ernst Bloch, Walter Benjamin, Max Horkheimer, Erich Fromm, and Herbert Marcuse, for whom the works of Freud, Marx, and Hegel were essential to a critique of modern society. As a critic of both fascism and what he called the culture industry, his writings—such as Dialectic of Enlightenment (1947), Minima Moralia (1951) and Negative Dialectics (1966)—strongly influenced the European New Left.
As New copy, first edition, 1989.
1986, English
Softcover, 253 pages, 13.8 x 21.6 cm
Published by
University of Minnesota Press / Minnesota
$55.00 - Out of stock
1986 edition, translated by Hugh Tomlinson and Barbara Habberjam.
A revolutionary work in philosophy and a book about cinema that identifies three principal types of image-movement using examples from the work of a diverse group of filmmakers including Griffith, Eisenstein, Cassavetes, and Altman.
The appearance of Cinema 1 is an exciting event for film study and one that well deserves serious attention and commentary.—Film Quarterly
Fifth printing of this 1986 edition (c. 1997), out-of-print.
1989, English
Softcover, 352 pages, 13.8 x 21.6 cm
Published by
University of Minnesota Press / Minnesota
$55.00 - Out of stock
1986 edition, translated by Hugh Tomlinson and Barbara Habberjam.
Brings to completion Deleuze’s work on the implications of the cinematographic image. In Cinema 2, Deleuze explains why, since World War II, time has come to dominate film. Among the filmmakers discussed are Rossellini, Fellini, Godard, Resnais, Pasolini, and many others.
Fifth printing of this 1986 edition (c. 1997), out-of-print.
1986, English / French
Softcover, 104 pages, 15.6 x 23.4 cm
Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$40.00 - Out of stock
1986 English edition of this classic of critical thought, in which Deleuze and Guattari challenge conventional interpretations of Kafka’s work. Instead of exploring preexisting categories or literary genres, they propose a concept of “minor literature”—the use of a major language that subverts it from within. Writing as a Jew in Prague, they contend, Kafka made German “take flight on a line of escape” and joyfully became a stranger within it. His work therefore serves as a model for understanding all critical language that must operate within the confines of the dominant language and culture.
In Kafka Deleuze and Guattari free their subject from his (mis)intrepreters. In contrast to traditional readings that see in Kafka's work a case of Oedipalized neurosis or a flight into transcendence, guilt, and subjectivity, Deleuze and Guattari make a case for Kafka as a man of joy, a promoter of radical politics who resisted at every turn submission to frozen hierarchies.
Text in English and original French.