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For much of its history political science has been political theory. As political science begins to establish a stronger sense of identity, political theorists have become more concerned about the point of their activity. In reviewing current trends and future prospects for political theory the author examines the current state of the art, including the undue significance attached to gurus such as Michael Oakeshott and Isaiah Berlin, the quest for normalisation in a preoccupation with theories of justice and the irrelevancy of permanent critique. The author concludes with a suggestion that political theory needs a much greater critical engagement with political science.

"The Art and Craft of Political Theory provides a critical overview of the discipline's core concepts and concerns and its development of critical thinking and practical judgment. The field's interdisciplinary strengths are deployed to grapple with emerging issues and engage afresh enduring ideals and quandaries. While conventional definitions of key concepts are provided, original and controversial perspectives are also explored, revealing continuity in a tradition of thought while emphasizing its diversity and innovations. The Art and Craft of Political Theory illustrates the analytic and interpretive skills, the moral and philosophic discernment, and the historical knowledge needed to appreciate a tradition of thought, to contest its claims, and to make good use of its insights. Topics include: - Science, Ideology, and Normative Theory - Biology, Culture, Human Nature, Power and Violence - Ancient, Modern, and Postmodern Political Thought - Liberty, Equality, Justice, Reason, and Democracy - Racial, Religious, Gender, and Economic Identities - Liberalism, Socialism, Capitalism, Communism, Anarchism, Feminism, and Environmentalism - Social Media, Automation, Artificial intelligence and other Emerging Technologies This concise, lively, and accessibly written book is essential reading for all students of political theory"--

The purpose of the article is to summarize information about the study of artistic practices of contemporary art in the aspect of psychological concepts of study. The methodology of the work is based on the use of general scientific research methods. A comparative analysis is applied to conceptualize the provisions of psychology for the analysis of works of contemporary art. The scientific novelty of the work lies in the introduction of conceptual provisions from psychoanalytic research to the analysis of works of musical, visual, choreographic art of the late XX - XXI centuries. Conclusions. The concepts of psychologists (K. G. Jung, R. Atkinson and R. Shiffrin, D. Anderson and G. Bauer, L. Brooks, A. Paivio, J. Santa, P. Vollen, S. Lauri and M. Weber) reveal the mechanisms of perception of modern art. Characterization of mnemonic processes of memory with such operations: orientation in the semantic structure of the material, dismemberment and grouping of semantic elements, establishing links between the structural units of the text, recoding verbal information into figurative, consolidating the material, memorization in general, and in parts occur in creative processes and processes of perception of the majority cultural codes. The use of concepts (quotation, allusion, reminiscence, contamination) to the analysis of works of contemporary art is confirmed by the results of research by psychologists on the perception of cited visual, auditory, verbal information, which evokes allusions or reminiscences to previously known material, but now with new connotations on the example of works by Yu. Gomelskaya, A. Zhivotkov, A. Kozarenko, R. Poklitaru, A. Rodin, E. Stankovich.

Always keen on the spectators' freedom of interpretation, André Bazin's film theory not only asks the famous question "What is cinema?," but it also explores what is a human. By underlining the importance of personalist ethics, Angela Dalle Vacche is the first film specialist to identify Bazin's "anti-anthropocentric" ambition of the cinema in favor of a more compassionate society. Influenced by the personalist philosophy of his mentor, Emmanuel Mounier, Bazin argued that the cinema is a mind-machine that interrogates its audiences on how humankind can engage in an egalitarian fashion towards other humans. According to Bazin, cinema's ethical interrogation places human spirituality or empathy on top of creativity and logic. Notwithstanding Bazin's emphasis on ethics, his film theory is rich with metaphors from art and science. The French film critic's metaphorical writing lyrically frames encounters between literary texts and filmmaking styles, while it illuminates the analogy between the élan vital of biology and cinema's lifelike ontology. A brilliant analyst of many kinds of films from Europe, Asia, and Latin America, ranging from fiction to documentary, from animation to the avant-garde, Bazin felt that the abstractions of editing were as important as the camera's fluidity of motion. Furthermore, he disliked films based on a thesis or on an a priori stance that would rule out the risks and surprises of life in motion. Neither a mystic nor an animist, Bazin was a dissident Catholic and a cultural activist without membership of a specific political party. Eager to dialogue with all kinds of communities, Bazin always disliked institutionalized religions based on dogmas. ; Always keen on the spectators' freedom of interpretation, André Bazin's film theory not only asks the famous question "What is cinema?," but it also explores what is a human. By underlining the importance of personalist ethics, Angela Dalle Vacche is the first film specialist to identify Bazin's "anti-anthropocentric" ambition of the cinema in favor of a more compassionate society. Influenced by the personalist philosophy of his mentor, Emmanuel Mounier, Bazin argued that the cinema is a mind-machine that interrogates its audiences on how humankind can engage in an egalitarian fashion towards other humans. According to Bazin, cinema's ethical interrogation places human spirituality or empathy on top of creativity and logic. Notwithstanding Bazin's emphasis on ethics, his film theory is rich with metaphors from art and science. The French film critic's metaphorical writing lyrically frames encounters between literary texts and filmmaking styles, while it illuminates the analogy between the élan vital of biology and cinema's lifelike ontology. A brilliant analyst of many kinds of films from Europe, Asia, and Latin America, ranging from fiction to documentary, from animation to the avant-garde, Bazin felt that the abstractions of editing were as important as the camera's fluidity of motion. Furthermore, he disliked films based on a thesis or on an a priori stance that would rule out the risks and surprises of life in motion. Neither a mystic nor an animist, Bazin was a dissident Catholic and a cultural activist without membership of a specific political party. Eager to dialogue with all kinds of communities, Bazin always disliked institutionalized religions based on dogmas.

Robert Boyer and Yves Sailard's Theorie de la Regulation introduces the Francophone public to one of the most important new currents in social science of the past half-century. This long-awaited translation will help broaden its impact still further. Regulation Theory focuses on the structural features of a given model and has helped enliven the examination of core economic concepts.

Art and Agency: An Anthropological Theory. Alfred Gell. New York: Oxford University Press, 1998. 271 pp.