Shared Pleasures

Gomery (The coming of sound to the American cinema, 1975; The Hollywood studio system, 1986) draws upon his earlier work and that of other scholars to address the broader social functions of the film industry, showing how Hollywood adapted its business policies to diversity and change within American society. Includes 31 bandw photographs. Paper edition (unseen), $15.95. Annotation copyrighted by Book News, Inc., Portland, OR

In this rich and deeply satisfying novel by the beloved author of The Art of Mending, and Open House, a resilient woman embarks upon an unforgettable journey of adventure, self-discovery, and renewal. Betta Nolan moves to a small town after the death of her husband to try to begin anew. Pursuing a dream of a different kind of life, she is determined to find pleasure in her simply daily routines. Among those who help her in both expected and unexpected ways are the ten-year-old boy next door, three wild women friends from her college days, a twenty-year-old who is struggling to find his place in the world, and a handsome man who is ready for love. Elizabeth Berg's The Year of Pleasuresis about acknowledging the solace found in ordinary things: a warm bath, good food, the beauty of nature, music, friends, and art. "Berg writes with humor and a big heart about resilience, loneliness, love, and hope. And the transcendence that redeems," said Andre Dubus about Durable Goods. And the same could be said about The Year of Pleasures.

Reel Pleasures brings the world of African moviehouses and the publics they engendered to life, revealing how local fans creatively reworked global media—from Indian melodrama to Italian westerns, kung fu, and blaxploitation films—to speak to local dreams and desires. In it, Laura Fair zeroes in on Tanzanians’ extraordinarily dynamic media cultures to demonstrate how the public and private worlds of film reception brought communities together and contributed to the construction of genders, generations, and urban citizenship over time. Radically reframing the literatures on media exhibition, distribution, and reception, Reel Pleasures demonstrates how local entrepreneurs and fans worked together to forge the most successful cinema industry in colonial sub-Saharan Africa. The result is a major contribution to the literature on transnational commodity cultures.

According to the terms of Aristotle's Politics, to be alive is to instantiate a form of rule. In the growth of plants, the perceptual capacities and movement of animals, and the impulse that motivates thinking, speaking, and deliberating Aristotle sees the working of a powerful generative force come to expression in an array of forms of life, and it is in these, if anywhere, that one could find the resources needed for a philosophic account of the nature of life as such. Aristotle on the Concept of Shared Life explores this intertwining of power and life in Aristotle's thought, and argues that Aristotle locates the foundation of human political life in the capacity to share one's most vital activities with others. A comprehensive study of the relationality which shared life reveals tells us something essential about Aristotle's approach to human political phenomena; namely, that they arise as forms of intimacy whose political character can only be seen when viewed in the context of Aristotle's larger inquiries into animal life, where they emerge not as categorically distinct from animal sociality, but as intensifications of it. Tracing the human capacity to share life thus illuminates the interrelation between the zoological, ethical, and political lenses through which Aristotle pursues his investigation of the polis. In following this connection, this volume also examines — and critically evaluates — the reception of Aristotle's political thought in some of the most influential concepts of contemporary critical theory.

"Novelists, artists, and philosophers of the eighteenth century understood pleasure as a virtue - a gift to be shared with one's companion, with a reader, or with the public. In this daring new book, Thomas Kavanagh overturns the prevailing scholarly tradition that views eighteenth-century France primarily as the incubator of the Revolution. Instead, Kavanagh demonstrates how the art and literature of the era put the experience of pleasure at the center of the cultural agenda, leading to advances in both ethics and aesthetics."--Publisher's description.

If we all want happiness and pleasure so much, then why are we so bad at getting it? Pleasure feels amazing! Anxiety, however, does not. The Ancient Greek Philosopher Epicurus rolled these two strikingly intuitive claims into a simple formula for happiness and well-being--pursue pleasure without causing yourself anxiety. But wait, is that even possible? Can humans achieve lasting pleasure without suffering anxiety about failure and loss? Epicurus thinks we can, at least once we learn to pursue pleasure thoughtfully. In Living for Pleasure, philosopher Emily Austin offers a lively, jargon-free tour of Epicurean strategies for diminishing anxiety, achieving satisfaction, and relishing joys. Epicurean science was famously far ahead of its time, and Austin shows that so was its ethics and psychology. Epicureanism can help us make and keep good friends, prepare for suffering, combat imposter syndrome, build trust, recognize personal limitations, value truth, cultivate healthy attitudes towards money and success, manage political anxiety, develop gratitude, savor food, and face death. Readers will walk away knowing more about an important school of philosophy, but moreover understanding how to get what they want in life--happiness--without the anxiety of striving for it.

Guilty pleasures in one’s reading habits are nothing new. Late-nineteenth-century American literary culture even championed the idea that popular novels need not be great. Best-selling novels arrived in the public sphere as at once beloved and contested objects, an ambivalence that reflected and informed America’s cultural insecurity. This became a matter of nationhood as well as aesthetics: the amateurism of popular narratives resonated with the discourse of new nationhood. In Guilty Pleasures, Hugh McIntosh examines reactions to best-selling fiction in the United States from 1850 to 1920, including reader response to such best-sellers as Uncle Tom’s Cabin, Ben Hur, and Trilby as well as fictional representations—from Trollope to Baldwin—of American culture’s lack of artistic greatness. Drawing on a transatlantic archive of contemporary criticism, urban display, parody, and advertising, Guilty Pleasures thoroughly documents how the conflicted attitude toward popular novels shaped these ephemeral modes of response. Paying close attention to this material history of novel reading, McIntosh reveals how popular fiction’s unique status as socially saturating and aesthetically questionable inspired public reflection on what it meant to belong to a flawed national community.

Simone de Beauvoir developed her philosophy of lived experience as she actually wrote fiction. Hence Beauvoir should be placed among major philosophical novelists of the twentieth-century like Toni Morrison and Nadine Gordimer, and Beauvoir's theory of the metaphysical novel acknowledges multicultural traditions of story-telling and song which are not locked into the theoretical abstractions of the Greek philosophical tradition. In Simone de Beauvoir's Philosophy of Lived Experience, Eleanore Holveck presents Simone de Beauvoir's theory of literature and metaphysics, including its relationship to the philosophers Edmund Husserl, Martin Heidegger, Immanuel Kant, Maurice Merleau-Ponty and Jean-Paul Sartre, with references to the literary tradition of Goethe, Maurice Barr s, Arthur Rimbaud, Andr Breton, and Paul Nizan. The book provides a detailed philosophical analysis of Beauvoir's early short stories and several major novels, including The Mandarins and L'invit e, from the point of view of "other" women who appear on the fringes of Beauvoir's fiction: shop girls, seamstresses, and prostitutes. Holveck applies Beauvoir's philosophy to her own lived experience as a working-class teenager who grew up in jazz clubs similar to those Beauvoir herself visited in New York and Chicago.