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On October 13, 1909, Francisco Ferrer, the notorious Catalan anarchist educator and founder of the Modern School, was executed by firing squad. The Spanish government accused him of masterminding the Tragic Week rebellion, while the transnational movement that emerged in his defense argued that he was simply the founder of the groundbreaking Modern School of Barcelona. Was Ferrer a ferocious revolutionary, an ardently nonviolent pedagogue, or something else entirely?

Anarchist Education and the Modern School is the first historical reader to gather together Ferrer’s writings on rationalist education, revolutionary violence, and the general strike (most translated into English for the first time) and put them into conversation with the letters, speeches, and articles of his comrades, collaborators, and critics to show that the truth about the founder of the Modern School was far more complex than most of his friends or enemies realized. Francisco Ferrer navigated a tempestuous world of anarchist assassins, radical republican conspirators, anticlerical rioters, and freethinking educators to establish the legendary Escuela Moderna and the Modern School movement that his martyrdom propelled around the globe.

Education is a challenging subject for anarchists. Many are critical about working within a state-run education system that is embedded in hierarchical, standardized, and authoritarian structures. Numerous individuals and collectives envision the creation of counterpublics or alternative educational sites as possible forms of resistance, while other anarchists see themselves as “saboteurs” within the public arena—believing that there is a need to contest dominant forms of power and educational practices from multiple fronts. Of course, if anarchists agree that there are no blueprints for education, the question remains, in what dynamic and creative ways can we construct nonhierarchical, anti-authoritarian, mutual, and voluntary educational spaces?

Contributors to this edited volume engage readers in important and challenging issues in the area of anarchism and education. From Francisco Ferrer’s modern schools in Spain and the Work People’s College in the United States, to contemporary actions in developing “free skools” in the U.K. and Canada, to direct-action education such as learning to work as a “street medic” in the protests against neoliberalism, the contributors illustrate the importance of developing complex connections between educational theories and collective actions. Anarchists, activists, and critical educators should take these educational experiences seriously as they offer invaluable examples for potential teaching and learning environments outside of authoritarian and capitalist structures. Major themes in the volume include: learning from historical anarchist experiments in education, ways that contemporary anarchists create dynamic and situated learning spaces, and finally, critically reflecting on theoretical frameworks and educational practices. Contributors include: David Gabbard, Jeffery Shantz, Isabelle Fremeaux & John Jordan, Abraham P. DeLeon, Elsa Noterman, Andre Pusey, Matthew Weinstein, Alex Khasnabish, and many others.

From William Morris to Oscar Wilde to George Orwell, left-libertarian thought has long been an important but neglected part of British cultural and political history. In Anarchist Seeds beneath the Snow, David Goodway seeks to recover and revitalize that indigenous anarchist tradition. This book succeeds as simultaneously a cultural history of left-libertarian thought in Britain and a demonstration of the applicability of that history to current politics. Goodway argues that a recovered anarchist tradition could—and should—be a touchstone for contemporary political radicals. Moving seamlessly from Aldous Huxley and Colin Ward to the war in Iraq, this challenging volume will energize leftist movements throughout the world.

Anarchists Never Surrender provides a complete picture of Victor Serge’s relationship to anarchism. The volume contains writings going back to his teenage years in Brussels, where he became influenced by the doctrine of individualist anarchism. At the heart of the anthology are key articles written soon after his arrival in Paris in 1909, when he became editor of the newspaper l’anarchie. In these articles Serge develops and debates his own radical thoughts, arguing the futility of mass action and embracing “illegalism.” Serge's involvement with the notorious French group of anarchist armed robbers, the Bonnot Gang, landed him in prison for the first time in 1912. Anarchists Never Surrender includes both his prison correspondence with his anarchist comrade Émile Armand and articles written immediately after his release.

The book also includes several articles and letters written by Serge after he had left anarchism behind and joined the Russian Bolsheviks in 1919. Here Serge analyzed anarchism and the ways in which he hoped anarchism would leaven the harshness and dictatorial tendencies of Bolshevism. Included here are writings on anarchist theory and history, Bakunin, the Spanish revolution, and the Kronstadt uprising.

Anarchists Never Surrender anthologizes Victor Serge’s previously unavailable texts on anarchism and fleshes out the portrait of this brilliant writer and thinker, a man I.F. Stone called one of the “moral figures of our time.”

One of the powers of art is its ability to convey the human aspects of political events. In this fascinating survey on art, artists, and anarchism, Allan Antliff interrogates critical moments when anarchist artists have confronted pivotal events over the past 140 years. The survey begins with Gustave Courbet’s activism during the 1871 Paris Commune (which established the French republic) and ends with anarchist art during the fall of the Soviet empire. Other subjects include the French neoimpressionists, the Dada movement in New York, anarchist art during the Russian Revolution, political art of the 1960s, and gay art and politics post-World War II. Throughout, Antliff vividly explores art’s potential as a vehicle for social change and how it can also shape the course of political events, both historic and present-day; it is a book for the politically engaged and art aficionados alike.

Allan Antliff is the author of Anarchist Modernism.

Why do we obey? How have poets and writers responded to this question? This book investigates the relationship between Euro-American literature and the history of the anarchist movement and culture, from the late 18th century to the first half of the 20th. Adopting a comparative perspective, it examines how the political question of obedience—and its refusal—became integrated into literary discourse.

For Emma Goldman, the “High Priestess of Anarchy,” anarchism was “a living force in the affairs of our life, constantly creating new conditions,” but “the most elemental force in human life” was something still more basic and vital: sex.

“The Sex Question” emerged for Goldman in multiple contexts, and we find her addressing it in writing on subjects as varied as women’s suffrage, “free love,” birth control, the “New Woman,” homosexuality, marriage, love, and literature. It was at once a political question, an economic question, a question of morality, and a question of social relations.

But her analysis of that most elemental force remained fragmentary, scattered across numerous published (and unpublished) works and conditioned by numerous contexts. Anarchy and the Sex Question draws together the most important of those scattered sources, uniting both familiar essays and archival material, in an attempt to recreate the great work on sex that Emma Goldman might have given us. In the process, it sheds light on Goldman’s place in the history of feminism.

Anarchy Comics: The Complete Collection brings together the legendary four issues of Anarchy Comics (1978–1986), the underground comic that melded anarchist politics with a punk sensibility, producing a riveting mix of satire, revolt, and artistic experimentation. This international anthology collects the comic stories of all thirty contributors from the U.S., Great Britain, France, Germany, Netherlands, Spain, and Canada.

In addition to the complete issues of Anarchy Comics, the anthology features previously unpublished work by Jay Kinney and Sharon Rudahl, along with a detailed introduction by Kinney, which traces the history of the comic he founded and provides entertaining anecdotes about the process of herding an international crowd of anarchistic cats.

Contributors include: Jay Kinney, Yves Frémion, Gerhard Seyfried, Sharon Rudahl, Steve Stiles, Donald Rooum, Paul Mavrides, Adam Cornford, Spain Rodriguez, Melinda Gebbie, Gilbert Shelton, Volny, John Burnham, Cliff Harper, Ruby Ray, Peter Pontiac, Marcel Trublin, Albo Helm, Steve Lafler, Gary Panter, Greg Irons, Dave Lester, Marion Lydebrooke, Matt Feazell, Pepe Moreno, Norman Dog, Zorca, R. Diggs (Harry Driggs), Harry Robins, and Byron Werner.

The argument of this book is that an anarchist society, a society which organizes itself without authority, is always in existence, like a seed beneath the snow, buried under the weight of the state and its bureaucracy, capitalism and its waste, privilege and its injustices, nationalism and its suicidal loyalties, religious differences and their superstitious separatism.

Anarchist ideas are so much at variance with ordinary political assumptions and the solutions anarchists offer so remote, that all too often people find it hard to take anarchism seriously. This classic text is an attempt to bridge the gap between the present reality and anarchist aspirations, “between what is and what, according to the anarchists, might be.”

Through a wide-ranging analysis—drawing on examples from education, urban planning, welfare, housing, the environment, the workplace, and the family, to name but a few—Colin Ward demonstrates that the roots of anarchist practice are not so alien or quixotic as they might at first seem but lie precisely in the ways that people have always tended to organize themselves when left alone to do so.

The result is both an accessible introduction for those new to anarchism and pause for thought for those who are too quick to dismiss it.

For more than thirty years, in over thirty books, Colin Ward patiently explained anarchist solutions to everything from vandalism to climate change—and celebrated unofficial uses of the landscape as commons, from holiday camps to squatter communities. Ward was an anarchist journalist and editor for almost sixty years, most famously editing the journal Anarchy. He was also a columnist for New Statesman, New Society, Freedom, and Town and Country Planning.

Anarchy in the Big Easy is an anarchist graphic history of the quest for freedom in radical and revolutionary New Orleans.

The story begins with the anarchic forces of nature creating the land and the cooperative indigenous communities that thrived before the European conquest. Next we see the revolt against domination through the Enslaved Peoples’ Uprising of 1811, the rise of maroon communities, the work of figures such as anarchist geographer Elisée Reclus and utopian revolutionary Joseph Déjacque, and the moving history of labor militancy—exemplified by the First International, the General Strike of 1892, and the rise of the Industrial Workers of the World. The anarchic aspects of jazz are explored, including its birthplace, the famous red-light district of Storyville. Other episodes recount the history of the Black Panthers, including the legendary shootout in the Desire Project, and the important role anarchists played in the grassroots recovery after Hurricane Katrina. The often-subversive People’s Carnival is depicted, from the history of the Mardi Gras Indians through today’s anarchist marching Krewes. The book concludes with the recent struggle to take down the confederate monuments, and the growth of a decentralized, autonomous mutual aid movement.

These stories are recounted by surregionalist writer Max Cafard and brought vividly to life through the striking images of comix artist Vulpes.

Anarchy, Geography, Modernity is the first comprehensive introduction to the thought of Elisée Reclus, the great anarchist geographer and political theorist. It shows him to be an extraordinary figure for his age. Not only an anarchist but also a radical feminist, anti-racist, ecologist, animal rights advocate, cultural radical, nudist, and vegetarian. Not only a major social thinker but also a dedicated revolutionary.

The work analyzes Reclus’ greatest achievement, a sweeping historical and theoretical synthesis recounting the story of the earth and humanity as an epochal struggle between freedom and domination. It presents his groundbreaking critique of all forms of domination: not only capitalism, the state, and authoritarian religion, but also patriarchy, racism, technological domination, and the domination of nature. His crucial insights on the interrelation between personal and small-group transformation, broader cultural change, and large-scale social organization are explored. Reclus’ ideas are presented both through detailed exposition and analysis, and in extensive translations of key texts, most appearing in English for the first time.

Lange galt eine umfassende Untersuchung zu Anastasios Sinaites (7./8. Jh.) als Desiderat. Auf der Basis der seit 1981 erschienenen Editionen legt Karl-Heinz Uthemann hier erstmals eine ausführliche Analyse von Anastasios’ Hauptwerk (Hodegos) vor und stellt auf der Basis seiner christologischen Schriften dessen Verständnis vom Bekenntniss von Chalkedon (451) dar. Dabei wird stets auf den Zusammenhang der christologischen Debatten dieser Zeit wertgelegt. Der zweite Teil widmet sich Anastasios als Prediger und Apologet gegenüber Islam und Judentum, wobei sowohl nicht edierte Texte als auch die frühe Wirkungsgeschichte seiner Dialexis adversus Iudaeos berücksichtigt werden. Überblicke über Editionen, Überlieferungs- und Wirkungsgeschichte kleinerer Schriften des Anastasios Sinaites runden dieses Buch ab.

Der Anteil alter und ältester Menschen innerhalb der Bevölkerung steigt aufgrund der demographischen Entwicklung immer weiter an - folglich wird die perioperative Betreuung dieser Patientengruppe immer mehr zur täglichen klinischen Routine. Das vorliegende Buch richtet sich daher an alle Anästhesisten sowie klinisch Tätigen aus anderen Fachbereichen, die mit der Betreuung dieser Patienten betraut sind. Es soll dabei eine praktische Hilfe für den klinischen Alltag liefern, aber auch grundlegende theoretische Aspekte des Alterns aus anästhesiologischer und geriatrischer Sicht vermitteln.

Das Werk führt dabei alle Aspekte auf, die im Umgang mit älteren Patienten relevant sind: Wie ist in der präoperativen Phase die Risikobeurteilung beim alten Patienten vorzunehmen. Wie die Narkoseführung zu managen in der intraoperativen Phase? wie das Beatmungs-, Kreislauf- oder Wärmemanagement? Was ist in der postoperativen Phase zu berücksichtigen, wenn es um allgemeine geriatrsiche Versorgungsprinzipien geht oder auch in Hinblick auf ein auftretendes Delir oder COPD? Das Werk ist unter Mitarbeit von erfahrenen Anästhesisten aber auch von Geriatern entstanden, so dass alle klinischen und perioperativen Aspekte praxisnah beleuchtet werden.

Has the passing of the old God paved the way for a new kind of religious project, a more responsible way to seek, sound, and love the things we call divine? Has the suspension of dogmatic certainties and presumptions opened a space in which we can encounter religious wonder anew? Situated at the split between theism and atheism, we now have the opportunity to respond in deeper, freer ways to things we cannot fathom or prove.

Distinguished philosopher Richard Kearney calls this condition ana-theos, or God after God-a moment of creative "not knowing" that signifies a break with former sureties and invites us to forge new meanings from the most ancient of wisdoms. Anatheism refers to an inaugural event that lies at the heart of every great religion, a wager between hospitality and hostility to the stranger, the other—the sense of something "more." By analyzing the roots of our own anatheistic moment, Kearney shows not only how a return to God is possible for those who seek it but also how a more liberating faith can be born.

Kearney begins by locating a turn toward sacred secularity in contemporary philosophy, focusing on Maurice Merleau-Ponty and Paul Ricoeur. He then marks "epiphanies" in the modernist masterpieces of James Joyce, Marcel Proust, and Virginia Woolf. Kearney concludes with a discussion of the role of theism and atheism in conflict and peace, confronting the distinction between sacramental and sacrificial belief or the God who gives life and the God who takes it away. Accepting that we can never be sure about God, he argues, is the only way to rediscover a hidden holiness in life and to reclaim an everyday divinity.

Has the passing of the old God paved the way for a new kind of religious project, a more responsible way to seek, sound, and love the things we call divine? Has the suspension of dogmatic certainties and presumptions opened a space in which we can encounter religious wonder anew? Situated at the split between theism and atheism, we now have the opportunity to respond in deeper, freer ways to things we cannot fathom or prove.

Distinguished philosopher Richard Kearney calls this condition ana-theos, or God after God-a moment of creative "not knowing" that signifies a break with former sureties and invites us to forge new meanings from the most ancient of wisdoms. Anatheism refers to an inaugural event that lies at the heart of every great religion, a wager between hospitality and hostility to the stranger, the other—the sense of something "more." By analyzing the roots of our own anatheistic moment, Kearney shows not only how a return to God is possible for those who seek it but also how a more liberating faith can be born.

Kearney begins by locating a turn toward sacred secularity in contemporary philosophy, focusing on Maurice Merleau-Ponty and Paul Ricoeur. He then marks "epiphanies" in the modernist masterpieces of James Joyce, Marcel Proust, and Virginia Woolf. Kearney concludes with a discussion of the role of theism and atheism in conflict and peace, confronting the distinction between sacramental and sacrificial belief or the God who gives life and the God who takes it away. Accepting that we can never be sure about God, he argues, is the only way to rediscover a hidden holiness in life and to reclaim an everyday divinity.

Nach Lieutenant Gustl (2011) erscheint mit Anatol der zweite Band der historisch-kritischen Ausgabe von Arthur Schnitzlers Frühwerk. Er enthält die Faksimiles der Manuskripte zu den sieben Einaktern in der Reihenfolge ihres Entstehens. Diese frühen Fassungen unterscheiden sich zum Teil noch beträchtlich von der späteren Textgestalt im Zyklus. Das Gegenüber von Original und präziser Transkription macht die Entzifferung von Schnitzlers berüchtigt schwer lesbarer Handschrift nachprüfbar. Der Lesetext folgt der Erstausgabe des Zyklus. Darüber hinaus enthält der Band zum Teil erstmals publizierte Texte ‑ Einakter, Prosatexte und Gedichte ‑ aus dem Umfeld des Entstehungsprozesses, die über die Anatol-Figur oder durch thematische Bezüge mit dem Zyklus verbunden sind. Der Band wird erschlossen durch editorische Apparate, einen literaturwissenschaftlichen Kommentar sowie einen ausführlichen Editionsbericht. Die Ausgabe erlaubt damit erstmals Einblicke in die komplexe Werkgenese dieses Einakterzyklus, der Arthur Schnitzlers Ruhm begründete.

Una gótica historia de amor envuelta en misterio. 

Edimburgo, 1817. En una época en la que la mayor meta de las mujeres es casarse, el sueño de Hazel Sinnett es convertirse en cirujana.

Para Jack Currer la vida tampoco es fácil: sobrevive saqueando tumbas y vendiendo lo que encuentra en ellas en una ciudad llena de peligros.

Sus caminos se cruzarán cuando, para poder formarse académicamente, Hazel hace un trato con un renombrado médico: si consigue superar el examen de ingreso, podrá estudiar en la universidad. Para ello necesita cuerpos con los que practicar y Jack será la solución. Pero él tiene otros problemas: sus amigos están desapareciendo y la sombra de una plaga mortal empieza a asolar la ciudad.

Hazel y Jack trabajarán juntos para descubrir qué está ocurriendo, al tiempo que nace en sus corazones un sentimiento para el que no estaban preparados.

The poems of Anatomic have emerged from biomonitoring and microbiome testing on the author's body to examine the way the outside writes the inside, whether we like it or not. Adam Dickinson drew blood, collected urine, swabbed bacteria, and tested his feces to measure the precise chemical and microbial diversity of his body. To his horror, he discovered that our "petroculture" has infiltrated our very bodies with pesticides, flame retardants, and other substances. He discovered shifting communities of microbes that reflect his dependence on the sugar, salt, and fat of the Western diet, and he discovered how we rely on nonhuman organisms to make us human, to regulate our moods and personalities.

Structured like the hormones some of these synthetic chemicals mimic in our bodies, this sequence of poems links the author’s biographical details (diet, lifestyle, geography) with historical details (spills, poisonings, military applications) to show how permeable our bodies are to the environment. As Dickinson becomes obsessed with limiting the rampant contamination of his own biochemistry, he turns this chemical-microbial autobiography into an anxious plea for us to consider what we’re doing to our world -- and to our own bodies.

Demonstrates how early modern women writers such as Margaret Cavendish and Hester Pulter wielded poetics as a tool for scientific work

Anatomical Forms excavates the shared material practices of women’s poetic work and anatomical study in early modern England. Asserting that poetry is a dimensional technology, Whitney Sperrazza demonstrates how women writers wielded poetics as a tool for scientific work in order to explore and challenge rapid developments in anatomy and physiology.

In the sixteenth and seventeenth centuries, anatomists were actively exploring the best ways to represent bodies in texts—to translate the work of the dissection room into the pages of books. When we recognize Renaissance anatomy as fundamentally a book-making project, Sperrazza insists, we find a complex and expansive history of anatomy in the pages of women’s poetry. Women poets have long been absent from histories of literature and science, but by shifting our focus from content to form, Sperrazza reveals complex engagements with questions on corpse preservation, dissection, obstetrics and gynecology, and skin theory in the poetry of Margaret Cavendish, Aemilia Lanyer, Mary Wroth, Mary Sidney Herbert, and Hester Pulter.

Through close formal analysis and original research on early modern anatomy treatises, Anatomical Forms weaves together critical conversations in poetics, book history, the history of science, and women’s writing. Sperrazza challenges her readers to imagine science differently—to understand that science might not always look like we expect it to look—and, in the process, brings into focus a feminist history of poetic form centered on material practice.

Demonstrates how early modern women writers such as Margaret Cavendish and Hester Pulter wielded poetics as a tool for scientific work

Anatomical Forms excavates the shared material practices of women’s poetic work and anatomical study in early modern England. Asserting that poetry is a dimensional technology, Whitney Sperrazza demonstrates how women writers wielded poetics as a tool for scientific work in order to explore and challenge rapid developments in anatomy and physiology.

In the sixteenth and seventeenth centuries, anatomists were actively exploring the best ways to represent bodies in texts—to translate the work of the dissection room into the pages of books. When we recognize Renaissance anatomy as fundamentally a book-making project, Sperrazza insists, we find a complex and expansive history of anatomy in the pages of women’s poetry. Women poets have long been absent from histories of literature and science, but by shifting our focus from content to form, Sperrazza reveals complex engagements with questions on corpse preservation, dissection, obstetrics and gynecology, and skin theory in the poetry of Margaret Cavendish, Aemilia Lanyer, Mary Wroth, Mary Sidney Herbert, and Hester Pulter.

Through close formal analysis and original research on early modern anatomy treatises, Anatomical Forms weaves together critical conversations in poetics, book history, the history of science, and women’s writing. Sperrazza challenges her readers to imagine science differently—to understand that science might not always look like we expect it to look—and, in the process, brings into focus a feminist history of poetic form centered on material practice.

Die Beiträge des vorliegenden Sammelbandes sind im wesentlichen im Rahmen des von der Volkswagenstiftung geförderten und noch laufenden Projektes „Die Parteiführung der SED und ihr zentraler Apparat. Zur Struktur, Funktion und Entwicklung der politischen Machtzentrale in der SBZ/DDR" entstanden. Sie untersuchen Aspekte der Entwicklung und Struktur der Parteizentrale während der Zeit der Sowjetischen Besatzungszone in Deutschland (SBZ), als der zentrale Parteiapparat noch nicht die wirkliche politische Macht- und Schaltzentrale in der SBZ war.

Um 1900 entstanden in Wien die ersten Eisenbetonbauten. Ihre Skelettkonstruktion ermöglichte weitgespannte Räume mit hoher Traglast und machte innovative Mehrzweckbauten möglich: Wohn- und Geschäftshäuser mit loftartigen Werkstrakten, integrierten Theatern und Kinos, Fabriken – sie waren die Schauplätze eines beschleunigten urbanen Lebens. Das Buch dokumentiert erstmals die bahnbrechende Entwicklung dieser neuen Bautechnologie, umgesetzt von wagemutigen Baumeistern, Ingenieuren, Architekten und entschlossenen Auftraggebern. Rund 90 analysierte Bauten – von bislang unbeachteten Gebäuden bis hin zu Ikonen der Wiener Architektur – illustrieren die räumliche Flexibilität und Bauqualität des Eisenbetons. Die Pionierjahre des Eisenbetons werfen ein neues Licht auf die Architektur Wiens um 1900.

• 90 Bauten aus den Pionierjahren des Eisenbetons in Wien
• Von Wiener Ikonen bis zu unbekannten Baujuwelen
• Ausstellung im Wien Museum vom 22. Mai 2025 bis 28. September 2025

Expert drawing instructor and storyboard artist Tom Fox knows exactly how to capture the figure in poses that are both dynamic and true to human anatomy. The book details the central figure-drawing elements and techniques that are essential to every artist of every skill level. From understanding the XYZ axis and basic skeleton, to thinking in 3D space and creating mannequins of all levels of detail, the book deals with everything the reader needs to know before moving on to the figure itself. Tom presents in step-by-step details exactly how to add the muscles and depict truly believable poses. 

Every part of the body is presented in detail, with easy-to-follow breakdowns of the torso, arms, and legs, and the often-tricky head, hands, and feet. The author also shares insightful, game-changing anatomy tips, many learned from years of working for major clients in the entertainment industry and teaching others to draw the human figure, both in person and online. This combination of experiences and skills make Tom an outstanding author of this must-have book for artists in all areas of figure drawing.

This is an essential resource for artists of any skill level or medium, who seek to capture figures in motion, showcasing the beauty and complexity of the human form with clear, innovative presentation. Stunning photography and comprehensive drawings show the contours, planar surfaces, and muscular structure of figures of varying body types. These male and female references will act as an invaluable starting point for artists. Whether you’re a traditional sculptor, oil painter, or 3D digital artist, the resources within this book will be useful and informative and will help you improve the quality and accuracy of your own art.
3dtotal Publishing's previous books on this subject have proved extremely popular, with Anatomy for Artists: Drawing Form & Pose selling over 18,000 copies to date, and Anatomy for Artists: A visual guide to the human form selling almost 10,000 copies.

If you have struggled with compulsive eating, dieting, and the guilt and conflict they bring, your life will be changed by this important, life-affirming, and astonishingly wise book.

Anne Katherine, a Certified Eating Disorders Therapist and former compulsive eater, explains the chemical reactions in the brain that work in conjunction with lifelong emotional conflicts to make food—particularly sugar and refined carbohydrates—such a comfort that it's almost like a drug.

Once you realize that your binge eating is a physical disease that can be treated, you can use the book's self-tests, exercises, examination of family issues, and complete recovery program for newfound understanding and confidence.

Diane Tuckman and Cecile Spiegel fled religious persecution with WWII conflicts at their heels. Separately, from Egypt and from Germany, each leaped continents, cultures, and languages as a refugee before finding a new home in the United States. Hiding in plain sight in France, Cecile eluded capture by the Nazis, but lost many dear to her. Diane came of age there, far from the Mediterranean idyll of her childhood in Egypt. They relied on family, faith, and resilience to overcome the otherness felt by displaced peoples. As they dictated their memoirs to one another, Diane and Cecile discovered the anatomy of their friendship in their parallel odysseys and the optimism of 20th-century American womanhood.

Diane Tuckman and Cecile Spiegel fled religious persecution with WWII conflicts at their heels. Separately, from Egypt and from Germany, each leaped continents, cultures, and languages as a refugee before finding a new home in the United States. Hiding in plain sight in France, Cecile eluded capture by the Nazis, but lost many dear to her. Diane came of age there, far from the Mediterranean idyll of her childhood in Egypt. They relied on family, faith, and resilience to overcome the otherness felt by displaced peoples. As they dictated their memoirs to one another, Diane and Cecile discovered the anatomy of their friendship in their parallel odysseys and the optimism of 20th-century American womanhood.

Cast out by mainstream society, the Black Roses rob ATMs, cook crack on stoves, and savagely beat down anyone who dares to harm them. Brutal and broken, they claw at the knot of darkness and violence that tightens around their lives.

Told in stark, vivid, and fearless prose, Anatomy of a Girl Gang is an unflinching story about lost girls struggling for power, voice, and hope.

Ashley Little is author of Prick: Confessions of a Tattoo Artist and the YA novel The New Normal. She lives in British Columbia.

Despite its prominence in public discourse, the notion of elites remains a highly contested and ambiguous part of modern political discourse. This monograph rehabilitates the idea of elites and gives it a solid theoretical footing, while relating it with the historical development of liberal thought in the west. The analysis offered in the book concentrates on the tradition of liberal political thought in France, which has consistently tackled the question of the elites, their role in society, and the process of their formation.

Combining theoretical insights with practical wisdom, French liberal thinkers have seen the elite as an indispensable social category and as a vehicle for the development of human liberty. In their different prescriptive doctrines, French liberal thinkers have sought to reconcile the emergence of social elites with the requirements of social and political equality, as well as with the ongoing modernization of mores and institutions. The monograph offers a unique contribution to scholarship in modern political thought by engaging analytically with the notion of elites, as well as by offering a structured discussion on the historical development of liberalism in France.

The study of facial expression and its musculature undertaken by Guillaume-Benjamin Duchenne de Boulogne in 1862, an attempt to secure biological meaning in the natural language of the emotions, resulted in the pioneering Méchanisme du physiognomie humaine. Duchenne, who used photography to document his experiments, inspired Charles Darwin's Expression of the Emotions in Man and Animals (1872) and had a significant influence on artists (his teachings were incorporated into the curriculum of the École Normale Supérieur des Beaux Arts). Through Duchenne, François Delaporte provides a remarkable philosophical and historical examination of expressive physiology during the mid-nineteenth century and considers the science of emotion as a means of revealing inner life upon the surface of the face. The central concern of Anatomy of the Passions is how techniques of studying facial musculature became a point of contact between existing and novel understandings of the body's expressive anatomy. Delaporte shows that Duchenne entirely reordered the knowledge and limits of expressive physiology in science and art. The face became a site where the signs of inner life are silently revealed, not yet betrayed by speech, but brought forth by reflexive physiology or by technical manipulation.

The study of facial expression and its musculature undertaken by Guillaume-Benjamin Duchenne de Boulogne in 1862, an attempt to secure biological meaning in the natural language of the emotions, resulted in the pioneering Méchanisme du physiognomie humaine. Duchenne, who used photography to document his experiments, inspired Charles Darwin's Expression of the Emotions in Man and Animals (1872) and had a significant influence on artists (his teachings were incorporated into the curriculum of the École Normale Supérieur des Beaux Arts). Through Duchenne, François Delaporte provides a remarkable philosophical and historical examination of expressive physiology during the mid-nineteenth century and considers the science of emotion as a means of revealing inner life upon the surface of the face. The central concern of Anatomy of the Passions is how techniques of studying facial musculature became a point of contact between existing and novel understandings of the body's expressive anatomy. Delaporte shows that Duchenne entirely reordered the knowledge and limits of expressive physiology in science and art. The face became a site where the signs of inner life are silently revealed, not yet betrayed by speech, but brought forth by reflexive physiology or by technical manipulation.

The inside story of how the giant-killing Minis of rallying, rallycross and racing fame were converted from standard Mini-Coopers in the BMC Competitions Department. The author, who spent 22 years in ‘Comps,’ reveals the secrets of specification, build technique and development of the famous Works Minis.
Particularly famous for their great adventures in the Monte Carlo rally, works Minis humbled many bigger and more powerful cars during the 1960s and 1970s.
Contributions from ‘Ginger’ Devlin & ‘Jumping Jeff’ Williamson reveal, in detail, the modifications to the works racing and rallycross cars respectively.

“ ... invaluable to anyone restoring a period car ... good stuff if you’re into nuts and bolts, and top value.” – Classic & Sports Car

“ ... a technical profile on the various modified Minis that were produced by the BMC competitions department for racing, rallying and rallycross. Separate chapters ... all backed up by appendices on the race and rallycross cars ... complete a package that will interest competitive Mini pilots” – Classics

Particularly famous for their great adventures in the Monte Carlo rally, works Minis humbled many bigger and more powerful cars during the 1960s and 1970s.
Mechanic Brian Moylan spent 22 years in the workshops of the BMC Competitions Department where the works cars were built.
Here, all the secrets of how ordinary production line Mini Coopers were converted into the mighty giant-killing Minis of motorsport are revealed in full.

Contributions from 'Ginger' Devlin & 'Jumping Jeff' Williamson reveal in detail the modifications to the works racing and rallycross cars respectively.


" ... invaluable to anyone restoring a period car ... good stuff if you're into nuts and bolts, and top value." - Classic & Sports Car


" ... a technical profile on the various modified Minis that were produced by the BMC competitions department for racing, rallying and rallycross. Separate chapters ... all backed up by appendices on the race and rallycross cars ... complete a package that will interest competitive Mini pilots" - Classics

Origen has been always studied as a theologian and too much credit has been given to Eusebius’ implausible hagiography of him. This book explores who Origen really was, by pondering into his philosophical background, which determines his theological exposition implicitly, yet decisively. For this background to come to light, it took a ground-breaking exposition of Anaxagoras’ philosophy and its legacy to Classical and Late Antiquity (Plato, Aristotle, Stoics, Origen, Neoplatonism), assessing critically Aristotle’s distorted representation of Anaxagoras. Origen, formerly a Greek philosopher of note, whom Proclus styled an anti-Platonist, is placed in the history of philosophy for the first time. By drawing on his Anaxagorean background, and being the first to revive the Anaxagorean Theory of Logoi, he paved the way to Nicaea. He was an anti-Platonist because he was an Anaxagorean philosopher with far-reaching influence, also on Neoplatonists such as Porphyry. His theology made an impact not only on the Cappadocians, but also on later Christian authors. His theory of the soul, now expounded in the light of his philosophical background, turns out more orthodox than that of some Christian stars of the Byzantine imperial orthodoxy.

Die Edition der drei milesischen Philosophen des sechsten Jahrhunderts v. Chr., Thales, Anaximander und Anaximenes ist – entsprechend der grundlegenden Zielsetzung der Neuedition der vorsokratischen Philosophen, wesentlich die Überlieferungswege und Überlieferungsintentionen der jeweiligen Zeugnisse zu dokumentieren – chronologisch (von Platon und Aristoteles bis Albertus Magnus) angeordnet. Verzichtet wird daher sowohl auf eine – im Fall der Milesier ohnehin müßige – Unterscheidung in direkte und indirekte Überlieferung oder auf ein Lemma ‚Imitationen‘ bzw. ‚Fälschungen‘.

Die griechischen, lateinischen, syrischen, arabischen und hebräischen Textzeugnisse werden mit deutscher Übersetzung abgedruckt. Sie sind mit erläuternden Anmerkungen, gegebenenfalls einem kritischen Apparat und vor allem einem Similienapparat versehen, der die jeweiligen Traditionsstränge nachzuvollziehen hilft. Insgesamt etwa 600 Zeugnisse für Thales (Bd. 1) und etwa jeweils 250 für die beiden anderen Milesier (Bd. 2) werden auf diese Weise erschlossen. Umfangreiche Indices erleichtern die Benutzung beider Bände.

The study of ancestor worship has an eminent pedigree in two disciplines: social anthropology and folklore (Goody 1962: 14-25; Newell 1976; Fortes 1976; Takeda 1976). Despite obvious differences in geographical specialization and intellectual orientation, researchers in both fields have shared a common approach to this subject: both have tried to relate the ancestor cult of a given society to its family and kin-group organization. Such a method is to be expected of social anthropologists, given the nature of their discipline; but even the Japanese folklorist Yanagita Kunio, whose approach to folk culture stems from historical and nationalist concerns, began his work on ancestors with a discussion of Japan's descent system and family structure (Yanagita 1946). Indeed, connections between ancestor cults and social relations are obvious. As we pursue this line of analysis, we shall see that rural Koreans themselves are quite sophisticated about such matters.

Many studies of ancestor cults employ a combination of social and psychological approaches to explain the personality traits attributed to the dead by their living kin. Particular attention has long been given to explaining the hostile or punitive character of the deceased in many societies (Freud 1950; Opler 1936; Gough 1958; Fortes 1965). Only recently, however, has the popularity of such beliefs been recognized in China, Korea, and Japan (Ahern 1973; A. Wolf 1974b; Kendall 1977; 1979; Yoshida 1967; Kerner 1976; Lebra 1976). The earliest and most influential studies of ancestor cults in East Asia, produced by native scholars (Hozumi 1913; Yanagita 1946; Hsu 1948), overemphasize the benign and protective qualities of ancestors. Some regional variations notwithstanding, this earlier bias appears to reflect a general East Asian reluctance to acknowledge instances of ancestral affliction. Such reticence is not found in all societies with ancestor cults, however; nor, in Korea, China, and Japan, is it equally prevalent among men and women. Therefore, we seek not only to identify the social experiences that give rise to beliefs in ancestral hostility, but to explain the concomitant reluctance to acknowledge these beliefs and its varying intensity throughout East Asia.

In view of the limited amount of ethnographic data available from Korea, we have not attempted a comprehensive assessment of the ancestor cult in Korean society; instead we have kept our focus on a single kin group. We have drawn on data from other communities, however, in order to separate what is apparently true of Korea in general from what may be peculiar to communities like Twisǒngdwi, a village of about three hundred persons that was the site of our fieldwork. In this task, we benefited substantially from three excellent studies of Korean ancestor worship and lineage organization (Lee Kwang-Kyu 1977a; Choi Jai-seuk 1966a; Kim Taik-Kyoo 1964) and from two recent accounts of Korean folk religion and ideology (Dix 1977; Kendall 1979). Yet we are still a long way from a comprehensive understanding of how Korean beliefs and practices have changed over time, correlate with different levels of class status, or are affected by regional variations in Korean culture and social organization.

Because we want to provide a monograph accessible to a rather diverse readership, we avoid using Korean words and disciplinary terminology whenever possible. Where a Korean term is particularly important, we give it in parentheses immediately after its English translation. Korean-alphabet orthographies for these words appear in the Character List, with Chinese-character equivalents for terms of Chinese derivation.

As for disciplinary terminology, we have adopted only the anthropological term "lineage," which is of central importance to our study. We use "lineage" to denote an organized group of persons linked through exclusively male ties (agnatically) to an ancestor who lived at least four generations ago. (A married woman could be said to have an informal membership in her husband's lineage until her death.) Thus, the term "Twisǒngdwi lineage" designates the agnatic kin group located in the village of Twisǒngdwi. This term does not refer to a line of ancestry. Smaller lineages may collectively constitute a larger lineage; for example, the descendants of two brothers may form two lineages but also ritually observe their common descent from an earlier agnatic forebear.

The study of ancestor worship has an eminent pedigree in two disciplines: social anthropology and folklore (Goody 1962: 14-25; Newell 1976; Fortes 1976; Takeda 1976). Despite obvious differences in geographical specialization and intellectual orientation, researchers in both fields have shared a common approach to this subject: both have tried to relate the ancestor cult of a given society to its family and kin-group organization. Such a method is to be expected of social anthropologists, given the nature of their discipline; but even the Japanese folklorist Yanagita Kunio, whose approach to folk culture stems from historical and nationalist concerns, began his work on ancestors with a discussion of Japan's descent system and family structure (Yanagita 1946). Indeed, connections between ancestor cults and social relations are obvious. As we pursue this line of analysis, we shall see that rural Koreans themselves are quite sophisticated about such matters.

Many studies of ancestor cults employ a combination of social and psychological approaches to explain the personality traits attributed to the dead by their living kin. Particular attention has long been given to explaining the hostile or punitive character of the deceased in many societies (Freud 1950; Opler 1936; Gough 1958; Fortes 1965). Only recently, however, has the popularity of such beliefs been recognized in China, Korea, and Japan (Ahern 1973; A. Wolf 1974b; Kendall 1977; 1979; Yoshida 1967; Kerner 1976; Lebra 1976). The earliest and most influential studies of ancestor cults in East Asia, produced by native scholars (Hozumi 1913; Yanagita 1946; Hsu 1948), overemphasize the benign and protective qualities of ancestors. Some regional variations notwithstanding, this earlier bias appears to reflect a general East Asian reluctance to acknowledge instances of ancestral affliction. Such reticence is not found in all societies with ancestor cults, however; nor, in Korea, China, and Japan, is it equally prevalent among men and women. Therefore, we seek not only to identify the social experiences that give rise to beliefs in ancestral hostility, but to explain the concomitant reluctance to acknowledge these beliefs and its varying intensity throughout East Asia.

In view of the limited amount of ethnographic data available from Korea, we have not attempted a comprehensive assessment of the ancestor cult in Korean society; instead we have kept our focus on a single kin group. We have drawn on data from other communities, however, in order to separate what is apparently true of Korea in general from what may be peculiar to communities like Twisǒngdwi, a village of about three hundred persons that was the site of our fieldwork. In this task, we benefited substantially from three excellent studies of Korean ancestor worship and lineage organization (Lee Kwang-Kyu 1977a; Choi Jai-seuk 1966a; Kim Taik-Kyoo 1964) and from two recent accounts of Korean folk religion and ideology (Dix 1977; Kendall 1979). Yet we are still a long way from a comprehensive understanding of how Korean beliefs and practices have changed over time, correlate with different levels of class status, or are affected by regional variations in Korean culture and social organization.

Because we want to provide a monograph accessible to a rather diverse readership, we avoid using Korean words and disciplinary terminology whenever possible. Where a Korean term is particularly important, we give it in parentheses immediately after its English translation. Korean-alphabet orthographies for these words appear in the Character List, with Chinese-character equivalents for terms of Chinese derivation.

As for disciplinary terminology, we have adopted only the anthropological term "lineage," which is of central importance to our study. We use "lineage" to denote an organized group of persons linked through exclusively male ties (agnatically) to an ancestor who lived at least four generations ago. (A married woman could be said to have an informal membership in her husband's lineage until her death.) Thus, the term "Twisǒngdwi lineage" designates the agnatic kin group located in the village of Twisǒngdwi. This term does not refer to a line of ancestry. Smaller lineages may collectively constitute a larger lineage; for example, the descendants of two brothers may form two lineages but also ritually observe their common descent from an earlier agnatic forebear.

It is rare now for people to stay where they were raised, and when we encounter one another—whether in person or, increasingly, online—it is usually in contexts that obscure if not outright hide details about our past. But even in moments of pure self-invention, we are always shaped by the past. In Ancestors, some of today’s most imaginative writers consider what it means to be made and fashioned by others. Are we shaped by grandparents, family, the deep past, political forebears, inherited social and economic circumstances? Can we choose our family, or is blood always thicker? And looking forward, what will it mean to be ancestors ourselves, and how will our descendants remember us?