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Intro -- TABLE OF CONTENTS -- INTRODUCTION -- II -- PREFACE TO ENGLISH EDITION. -- PREFACE. -- CHAPTER I.-THE FUNDAMENTAL DOCTRINES OF MARXIST SOCIALISM. -- (a) The Scientific Elements of Marxism. -- (b) The Materialist Interpretation of History and Historic Necessity. -- (c) The Marxist Doctrine of Class War and of the Evolution of Capital. -- CHAPTER II.-THE ECONOMIC DEVELOPMENT OF MODERN SOCIETY. -- (a) On the Meaning of the Marxist Theory of Value. -- (b) The Distribution of Wealth in the Modern Community. -- (c) The Classes of Establishments in the Production and Distribution of Social Wealth. -- (d) The Crises and Possibilities of Adjustment in Modern Economy. -- CHAPTER III.-THE TASKS AND POSSIBILITIES OF SOCIAL DEMOCRACY. -- (a) The political and economic preliminary conditions of socialism. -- b) The Economic Capacities of Co-operative Associations. -- (c) Democracy and Socialism. -- (d) The most pressing Problems of Social Democracy. -- CONCLUSION. -- ULTIMATE AIM AND TENDENCY.-KANT AGAINST CANT. -- ABSTRACT.

В статье представлен критический анализ идеи политолога Г. Аллисона о «ловушке» в творчестве древнегреческого историка Фукидида, интерес к наследию которого значительно вырос в последние годы. Особое внима­ние к теоретическому аспекту «Истории Пелопонесской войны» проявляют теоретики международных отношений. Фукидид, по их мнению, предло­жил идею структурного напряжения, согласно которой рост могущества потенциального лидера порождает страх у актуального гегемона, что при­водит к неизбежности войны между ними. Несмотря на то, что древнегре­ческий историк действительно писал о страхе перед возросшей силой Афин, называя ее «истинной причиной» объявления войны со стороны Спарты, его философское представление о природе конфликта в корне от­личается от предположения Г. Аллисона. Смысл «Истории» проясняется скорее в человеческом контексте, поскольку решения о начале боевых дей­ствий зависят от индивидов, их характера, интеллектуальных и моральных качеств. Как показывает автор статьи, этот подход позволяет осмыслить роль и значение страха в древнегреческом тексте. Вопреки идеям Г. Алли­сона, страх не только не приводит к неизбежности войны, но и ограничи­вается иными человеческими качествами, в первую очередь доблестью. Автор доказывает, что Фукидид говорил о субъективном восприятии необ­ходимости. Персонажи «Истории» сдерживаются внешней средой, балан­сом сил, но сохраняют свободу воли. Начало или предотвращение войны определяется спорами в народных собраниях, а истинная причина всегда зависит от темперамента героев и граждан полиса.

'What we have now are newspapers writing on "safe" subjects. A lot of foreign news from the wires of UPI and AP. The remaining pages are filled with pictures, puzzles and fictional stories.'

The first book to examine dance criticism in the United States across 100 years, this study argues that critics in the popular press have influenced how dance has been defined and valued, as well as which artists and dance forms have been taken most seriously.

pt. 1, 1. Hobbes, Lucianic humour and the philosophic persona. 2. Hoisting Hobbes on the satiric petard -- pt. 2, 3. The seriousness of the absurd : the Scriblerian philosophic persona. 4. Identity, materiality and the language of philosophical absurdity. 5. Hobbes and the Scriblerians.

Erasmus' Adages—a vast collection of the proverbial wisdom of Greek and Roman antiquity—was published in 1508 and became one of the most influential works of the Renaissance. It also marked a turning point in the history of Western thinking about literary property. At once a singularly successful commercial product of the new printing industry and a repository of intellectual wealth, the Adages looks ahead to the development of copyright and back to an ancient philosophical tradition that ideas should be universally shared in the spirit of friendship.In this elegant and tightly argued book, Kathy Eden focuses on both the commitment to friendship and common property that Erasmus shares with his favorite philosophers—Pythagoras, Plato, and Christ—and the early history of private property that gradually transforms European attitudes concerning the right to copy. In the process she accounts for the peculiar shape of Erasmus' collection of more than 3,000 proverbs and provides insightful readings of such ancient philosophical and religious thinkers as Pythagoras, Plato, Aristotle, Cicero, Iamblichus, Tertullian, Basil, Jerome, and Augustine

This project aims to explore the connection between history, memory, political power, and visual art. It aims to contribute insight to how contemporary visual artists, like the filmmaker Jean Luc Godard, and the installation artist Christian Boltanski, confront politics through the reformation of collective memory. In their case the memory and history that they evoke are connected to Second War World and the Holocaust. In a very schematic way I will try to describe their role as a provider of a sight; a sight of the political struggle. I structured our investigation of Boltanski and Godard's works around three general questions on art, history and power. These questions provided a point of departure for my exploration, and helped with the formation of my arguments. At first, I tried to understand the presence of history in both Boltanski's and Godard's works. As I explained in this project, their motivations come from different reasons and events. Above all, as I have presented in this project, these artists use history in order to understand the conditions of the present moment. Therefore, I will argue that both Boltanski and Godard are historians of the present. Secondly, it was important for me to understand their specific use of the Holocaust and Auschwitz in their works. Here we notice how this event is perceived, as a reflection of social structures, and our understanding of the way power operates has grown accordingly. In this respect, Boltanski and Godard's works fall, both directly and indirectly, under the theoretical framework formulated by Michel Foucault, Adi Ophir, and Giorgio Agamben. The third question relates specifically to the art world and art practice, focusing on the attempt to expose how artistic methods and technique function as apparatuses of power. In other words, I wanted to understand and expose how power suffuses art through artistic practices. Here, I followed Godard's own investigation of cinematic montage, and Boltanski's challenges of archival practice. Therefore, it was through their paradigms that I was able to consider alternatives