Vol. 1 : A-C. - 604 p.

Vol. 1 : Abderhalden - Byers. - 522 p.

This guide to conceptual art traces the issues and concerns of the first generation of artists involved in the foundation of the movement, with an essay exploring the historical basis of conceptual art, its relationship to the dominant aesthetics of the 1960s, namely the modernist theory of Clement Greenberg and his disciples, and the influence of conceptual art on today's art and cultural climate. Artists featured include: Vito Acconci, Art & Language, John Baldessari, Robert Barry, Mel Bochner, Marcel Broodthaers, Stanley Brouwn, Daniel Buren, Victor Burgin, Hanne Darboven, Jan Dibbets, Marcel Duchamp, Gilbert & George, Dan Graham, Hans Haacke, Jenny Holzer, Douglas Huebler, On Kawara, Joseph Kosuth, Louise Lawler, Sol LeWitt, Gordon Matta-Clark, Ana Mendieta, Bruce Nauman, Adrian Piper, Edward Ruscha, Lawrence Weiner, Ian Wilson. Taschen's Basic Art movement and genre series: each book includes a detailed introduction with approximately 30 photographs, plus a timeline of the most important events (political, cultural, scientific, sporting, etc.) that took place during the time period. The body of the book contains a selection of the most important works of the epoch; each is presented on a 2-page spread with a full-page image and, on the facing page, a description/interpretation of the work, a reference work, portrait of the artist, quotes, and biographical information.

The 13th century was a time of change for knights in England. They were faced with rising costs and increasing demands on their time for local government because of their very status in society, until knighthood itself was sometimes avoided. This period saw as well the development of the tournament from the wild team events of the early years of the century to the single jousts with blunt lance. Campaign life in the 13th century also embraced several theatres of war including the baronial revolt against King John, the Barons' Wars of Simon de Montfort, and the Welsh and Scottish wars of Edward I. This title also covers the use and development of arms, armour, costume and other equipment.

Blue Blood is an work of nonfiction about what it means to protect, to serve, and to defend among the ranks of New York's finest. Edward Conlon is fourth generation NYPD - and the story he tells is an anecdotal history of New York through its police force, and depicts a portrait of the teeming street life of the city in all its horror and splendor. It is a story about fathers and sons, partners who become brothers, old ghosts and undying legacies. Here you will see terms like loyalty, commitment, and honor come to life, in action, on a daily basis. Conlon depicts his life on the force - from his first days walking a beat in the South Bronx, to his ascent to detective." The book opens with Conlon's first day on patrol, but in fact his story begins in the time of his great-grandfather, an officer of dubious integrity who participated in the corruption that marked the Tammany-era NYPD as a corps in need of reform; it continues through the experience of Conlon's father, a World War II officer who left the ranks of the NYPD to become an FBI agent, and the years of his uncle, an old-fashioned, easygoing career cop, who stayed in uniform throughout the political upheavals and corrections of the 1960s and 1970s. Conlon joined the NYPD during the Giuliani administration, when New York City saw its crime rate plummet but also witnessed events that would alter the city and its inhabitants, and its police force, forever: polarizing racial cases, the proliferation of the drug trade, and the events of September 11, 2001, and its aftermath. Conlon captures the detail of the landscape, the ironies and rhythms of natural speech, the tragic and the marvelous, firsthand, day after day.

How has the United Nations dealt with the question of terrorism before and after September 11? What does it mean that the UN itself has become a target of terrorism? Terrorism and the UN analyzes how the UN's role in dealing with terrorism has been shaped over the years by the international system, and how events such as September 11 and the American intervention in Iraq have reoriented its approach to terrorism. The first half of the book addresses the international context. Chapters in this part consider the impact of September 11 on the UN's concern for the rights and security of states relative to those of individuals, as well as the changing attitudes of various Western powers toward multilateral vs. unilateral approaches to international problems. The second half of the book focuses more closely on the UN, its values, mechanisms, and history and its future role in preventing and reacting to terrorism. The Security Council's position on and reactions to terrorist activities are contrasted with the General Assembly's approach to these issues. What role the UN might play in suppressing the political economy of terrorism is considered. A concluding chapter looks at broader, more proactive strategies for addressing the root causes of terrorism, with an emphasis on social justice as a key to conflict prevention, a primary concern of the UN, particularly the General Assembly, before September 11. Contributors are Jane Boulden, Chantal de Jonge Oudraat (Georgetown University), Edward C. Luck (Columbia University), S. Neil MacFarlane (University of Oxford), Rama Mani (Geneva Centre for Security Policy), M. J. Peterson (University of Massachusetts, Amherst), Nico Schrijver (Vrije Universiteit, Amsterdam), Mónica Serrano (Colegio de México and University of Oxford), Thierry Tardy (Geneva Centre for Security Policy), Karin von Hippel (King's College, London), and Thomas G. Weiss.

This book deals with critical aspects of English historical, constitutional and political thought from the Middle Ages to the early modern period. In particular, the book is a study of the ways in which history could be deployed for all kinds of political purposes. The entire story of the historical construct of the "radical ancient constitution" is told, focusing on the ways in which rebels turned to important medieval sources including the so-called "Laws" of Edward the Confessor, in an effort to legitimize resistance, deposition and regicide.

Noam Chomsky is one of the most recognized names of our time, and in 2005 he was voted the most important public intellectual in the world today, the result of his winning 4,827 of 20,000 votes cast in a poll conducted jointly by a British monthly called Prospect and the Washingtonbased journal Foreign Policy. This result is hardly surprising; his contributions to linguistics and his theories regarding the workings of the human mind have rocked the intellectual world for more than fifty years, beginning with the critical reception of his early work on syntactic structures and his appeal to what he called the Cartesian approach to language. His crusade against the Vietnam War and his on-going critique of American foreign policy, his analyses of the Middle East and Central America, his long-standing local and international activism, and his assessment (sometimes with Edward Herman) of how media functions in contemporary society have made him a darling of political dissenters around the world who take from Chomsky both useful analysis and, moreover, a whole approach that is valuable in the struggle against oppression. He is at once a beacon to the downtrodden, and, as much of the world witnessed on September 20, 2006, from a televised speech delivered at the United Nations General Assembly, he is also an inspiration to the likes of President Hugo Chavez of Venezuela, who recommended to representatives of the governments of the world that they read Chomsky’s recent book Hegemony or Survival. Chomsky’s vicious and persistent attacks against “Stalinist” politicians, “commissar” academics, greedy members of the managerial classes, poser liberals, “scientific” Marxists, self-aggrandizing social scientists, authoritarian pedagogues, lackey media types, and fanatical sports fans has also created a vicious set of adversaries who commit remarkable amounts of effort to discredit, admonish, critique, or ignore Chomsky’s approach. In the face of it all, Chomsky stands forth, now eighty years old and yet as energetic, fearless, and courageous as ever, perhaps even more so as the years bring him new kinds of experience, optimism and disgust; he is indeed, as U2’s Bono has called him, the “rebel without a pause.” As a consequence, most everyone has strong feelings (positive and negative) about Noam Chomsky, and the effect that he has upon people extending across national, social, and institutional lines is a fascinating phenomenon, and is a remarkable testament to what an intellectual can accomplish when engaged beyond the ivory tower.

Throughout history, tyrants, totalitarian states, church institutions, and democratic governments alike have banned books that challenged their beliefs or questioned their activities. Political censorship was even applied to ancient Greek dramas during the Nazi occupation in 1942. Political suppression also occurs in the name of security and the safeguarding of official secrets, and is often used as a weapon in larger cultural or political battles. Such censorship has affected every form of writing. "Literature Suppressed on Political Grounds, Revised Edition" illustrates the extent and frequency of political censorship of many kinds of literature. The 10 entries new to this edition include works by Nobel Prize winners Wole Soyinka and Gao Xingjian, as well as works by Ha Jin and Edward Said. This edition also includes many updates to existing entries, such as "Gulliver's Travels". New and updated entries include: "After Such Knowledge, What Forgiveness?" (Jonathan C. Randal); "Animal Farm" (George Orwell); "Born on the Fourth of July" (Ron Kovic); "Burger's Daughter" (Nadine Gordimer); "Bury My Heart at Wounded Knee" (Dee Brown); "Cancer Ward" (Aleksandr Solzhenitsyn); "The Case for India" (Will Durant); "Did Six Million Really Die?" (Richard E. Harwood); "Doctor Zhivago" (Boris Pasternak); "El Senor President" (Miguel Angel Asturias); "The Fugitive" (Pramoedya Ananta Toer); "The Grapes of Wrath" (John Steinbeck); "Gulliver's Travels" (Jonathan Swift); "The Jungle" (Upton Sinclair); "Les Miserables" (Victor Hugo); "The Man Died" (Wole Soyinka); "Manifesto of the Communist Party" (Karl Marx and Friedrich Engels); "Mein Kampf" (Adolf Hitler); "The Patriot" (Hanoch Levin); "The Prince" (Machiavelli); "Slaughterhouse-Five" (Kurt Vonnegut, Jr.); and "The Struggle Is My Life" (Nelson Mandela).