In Nonhuman Witnessing Michael Richardson argues that a radical rethinking of what counts as witnessing is central to building frameworks for justice in an era of endless war, ecological catastrophe, and technological capture. Dismantling the primacy and notion of traditional human-based forms of witnessing, Richardson shows how ecological, machinic, and algorithmic forms of wi...(展开全部)

In Nonhuman Witnessing Michael Richardson argues that a radical rethinking of what counts as witnessing is central to building frameworks for justice in an era of endless war, ecological catastrophe, and technological capture. Dismantling the primacy and notion of traditional human-based forms of witnessing, Richardson shows how ecological, machinic, and algorithmic forms of wi...(展开全部)

Having set global warming in irreversible motion, we are facing the possibility of ecological catastrophe. But the environmental emergency is also a crisis for our philosophical habits of thought, confronting us with a problem that seems to defy not only our control but also our understanding. Global warming is perhaps the most dramatic example of what Timothy Morton calls “hyp...(展开全部)

Having set global warming in irreversible motion, we are facing the possibility of ecological catastrophe. But the environmental emergency is also a crisis for our philosophical habits of thought, confronting us with a problem that seems to defy not only our control but also our understanding. Global warming is perhaps the most dramatic example of what Timothy Morton calls “hyp...(展开全部)

Deep within the remote backlands of nineteenth-century Brazil lies Canudos, home to all the damned of the earth: prostitutes, bandits, beggars, and every kind of outcast. It is a place where history and civilization have been wiped away. There is no money, no taxation, no marriage, no census. Canudos is a cauldron for the revolutionary spirit in its purest form, a state with al...(展开全部)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. "After the End of Art" presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the na...(展开全部)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. "After the End of Art" presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the na...(展开全部)

WINNER OF THE FRENCH ACADEMY GRAND PRIX A tribute to George Orwell's 1984 and a cry of protest against totalitarianism of all kinds, Sansal's 2084 tells the story of a near future in which Islamic fundamentalists have established an oppressive caliphate where autonomus thought is forbidden. It is the year 2084. In the kingdom of Abistan—named after the prophet Abi, earthly mess...(展开全部)

【作者简介】 多米尼克·利芬（Dominic Lieven），英国著名历史学家。毕业于剑桥大学历史系，现为剑桥大学三一学院高级研究员、英国学术院院士、伦敦政治经济学院荣休教授。他的《俄国与拿破仑的决战》（2015 年由甲骨文推出中文版）获2009 年沃尔夫森历史奖、2009 年拿破仑基金会拿破仑奖等诸多荣誉。 【译者简介】 苏然，法律从业者，先后就读于南开大学、中国政法大学，现为乔治城大学在读法学博士，译有《拿破仑大帝》。 王橙，现于法国攻读法国历史，译有《勇士中的勇士，拿破仑最富争议的元帅——米歇尔·奈伊传》、《拿破仑的第一骑兵——若阿基姆·缪拉传》、《拿破仑时代》（合译），并发表过《决战瓦夫尔》等文章。

【作者简介】 多米尼克·利芬（Dominic Lieven），英国著名历史学家。毕业于剑桥大学历史系，现为剑桥大学三一学院高级研究员、英国学术院院士、伦敦政治经济学院荣休教授。他的《俄国与拿破仑的决战》（2015 年由甲骨文推出中文版）获2009 年沃尔夫森历史奖、2009 年拿破仑基金会拿破仑奖等诸多荣誉。 【译者简介】 苏然，法律从业者，先后就读于南开大学、中国政法大学，现为乔治城大学在读法学博士，译有《拿破仑大帝》。 王橙，现于法国攻读法国历史，译有《勇士中的勇士，拿破仑最富争议的元帅——米歇尔·奈伊传》、《拿破仑的第一骑兵——若阿基姆·缪拉传》、《拿破仑时代》（合译），并发表过《决战瓦夫尔》等文章。