Men, Women, and Chain Saws

Princeton Classics

Book 15
Princeton University Press
10
Free sample

From its first publication in 1992, Men, Women, and Chain Saws has offered a groundbreaking perspective on the creativity and influence of horror cinema since the mid-1970s. Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge films. Although such movies have been traditionally understood as offering only sadistic pleasures to their mostly male audiences, Clover demonstrates that they align spectators not with the male tormentor, but with the females tormented—notably the slasher movie's "final girls"—as they endure fear and degradation before rising to save themselves. The lesson was not lost on the mainstream industry, which was soon turning out the formula in well-made thrillers.

Including a new preface by the author, this Princeton Classics edition is a definitive work that has found an avid readership from students of film theory to major Hollywood filmmakers.

Read more
Collapse

About the author

Carol J. Clover is the Class of 1936 Professor Emerita in the departments of rhetoric, film, and Scandinavian at the University of California, Berkeley. She is the author of The Medieval Saga.
Read more
Collapse
4.4
10 total
Loading...

Additional Information

Publisher
Princeton University Press
Read more
Collapse
Published on
May 26, 2015
Read more
Collapse
Pages
280
Read more
Collapse
ISBN
9781400866113
Read more
Collapse
Read more
Collapse
Best For
Read more
Collapse
Language
English
Read more
Collapse
Genres
Performing Arts / Film / General
Performing Arts / Film / History & Criticism
Social Science / Gender Studies
Social Science / Media Studies
Social Science / Popular Culture
Social Science / Women's Studies
Read more
Collapse
Content Protection
This content is DRM protected.
Read more
Collapse
Eligible for Family Library

Reading information

Smartphones and Tablets

Install the Google Play Books app for Android and iPad/iPhone. It syncs automatically with your account and allows you to read online or offline wherever you are.

Laptops and Computers

You can read books purchased on Google Play using your computer's web browser.

eReaders and other devices

To read on e-ink devices like the Sony eReader or Barnes & Noble Nook, you'll need to download a file and transfer it to your device. Please follow the detailed Help center instructions to transfer the files to supported eReaders.
Evil threatens human reason, for it challenges our hope that the world makes sense. For eighteenth-century Europeans, the Lisbon earthquake was manifest evil. Today we view evil as a matter of human cruelty, and Auschwitz as its extreme incarnation. Examining our understanding of evil from the Inquisition to contemporary terrorism, Susan Neiman explores who we have become in the three centuries that separate us from the early Enlightenment. In the process, she rewrites the history of modern thought and points philosophy back to the questions that originally animated it.

Whether expressed in theological or secular terms, evil poses a problem about the world's intelligibility. It confronts philosophy with fundamental questions: Can there be meaning in a world where innocents suffer? Can belief in divine power or human progress survive a cataloging of evil? Is evil profound or banal? Neiman argues that these questions impelled modern philosophy. Traditional philosophers from Leibniz to Hegel sought to defend the Creator of a world containing evil. Inevitably, their efforts--combined with those of more literary figures like Pope, Voltaire, and the Marquis de Sade--eroded belief in God's benevolence, power, and relevance, until Nietzsche claimed He had been murdered. They also yielded the distinction between natural and moral evil that we now take for granted. Neiman turns to consider philosophy's response to the Holocaust as a final moral evil, concluding that two basic stances run through modern thought. One, from Rousseau to Arendt, insists that morality demands we make evil intelligible. The other, from Voltaire to Adorno, insists that morality demands that we don't.


Beautifully written and thoroughly engaging, this book tells the history of modern philosophy as an attempt to come to terms with evil. It reintroduces philosophy to anyone interested in questions of life and death, good and evil, suffering and sense. Featuring a substantial new afterword by Neiman that raises provocative questions about Hannah Arendt's take on Adolf Eichmann and the rationale behind the Hiroshima bombing, this Princeton Classics edition introduces a new generation of readers to this eloquent and thought-provoking meditation on good and evil, life and death, and suffering and sense.

Are antisemitism and white supremacy manifestations of a general phenomenon? Why didn't racism appear in Europe before the fourteenth century, and why did it flourish as never before in the eighteenth and nineteenth centuries? Why did the twentieth century see institutionalized racism in its most extreme forms? Why are egalitarian societies particularly susceptible to virulent racism? What do apartheid South Africa, Nazi Germany, and the American South under Jim Crow have in common? How did the Holocaust advance civil rights in the United States?

With a rare blend of learning, economy, and cutting insight, George Fredrickson surveys the history of Western racism from its emergence in the late Middle Ages to the present. Beginning with the medieval antisemitism that put Jews beyond the pale of humanity, he traces the spread of racist thinking in the wake of European expansionism and the beginnings of the African slave trade. And he examines how the Enlightenment and nineteenth-century romantic nationalism created a new intellectual context for debates over slavery and Jewish emancipation.


Fredrickson then makes the first sustained comparison between the color-coded racism of nineteenth-century America and the antisemitic racism that appeared in Germany around the same time. He finds similarity enough to justify the common label but also major differences in the nature and functions of the stereotypes invoked. The book concludes with a provocative account of the rise and decline of the twentieth century's overtly racist regimes--the Jim Crow South, Nazi Germany, and apartheid South Africa--in the context of world historical developments.


This illuminating work is the first to treat racism across such a sweep of history and geography. It is distinguished not only by its original comparison of modern racism's two most significant varieties--white supremacy and antisemitism--but also by its eminent readability.

Originally published in 1957, this classic work has guided generations of scholars through the arcane mysteries of medieval political theology. Throughout history, the notion of two bodies has permitted the post mortem continuity of monarch and monarchy, as epitomized by the statement, "The king is dead. Long live the king." In The King's Two Bodies, Ernst Kantorowicz traces the historical problem posed by the "King's two bodies"--the body natural and the body politic--back to the Middle Ages and demonstrates, by placing the concept in its proper setting of medieval thought and political theory, how the early-modern Western monarchies gradually began to develop a "political theology.?

The king's natural body has physical attributes, suffers, and dies, naturally, as do all humans; but the king's other body, the spiritual body, transcends the earthly and serves as a symbol of his office as majesty with the divine right to rule. The notion of the two bodies allowed for the continuity of monarchy even when the monarch died, as summed up in the formulation "The king is dead. Long live the king."

Bringing together liturgical works, images, and polemical material, The King's Two Bodies explores the long Christian past behind this "political theology." It provides a subtle history of how commonwealths developed symbolic means for establishing their sovereignty and, with such means, began to establish early forms of the nation-state.

Kantorowicz fled Nazi Germany in 1938, after refusing to sign a Nazi loyalty oath, and settled in the United States. While teaching at the University of California, Berkeley, he once again refused to sign an oath of allegiance, this one designed to identify Communist Party sympathizers. He was dismissed as a result of the controversy and moved to the Institute for Advanced Study in Princeton, where he remained for the rest of his life, and where he wrote The King's Two Bodies.

Featuring a new introduction, The King's Two Bodies is a subtle history of how commonwealths developed symbolic means for establishing their sovereignty and, with such means, began to establish early forms of the nation-state.

Pop culture history meets blood-soaked memoir as Adam Rockoff, “a passionate fan of the horror genre in all its forms,” (The New York Times) recalls a life spent watching blockbuster slasher films, cult classics, and everything in between.

Horror films have simultaneously captivated and terrified audiences for generations, racking up millions of dollars at the box office and infusing our nightmares with chainsaws, goblins, and blood-spattered machetes. Today’s hottest television shows feature classic horror elements, from marauding zombies and sexy vampires to myriad incarnations of the devil himself. Yet the horror genre and its controversial offshoots continue to occupy a nebulous space in our critical dialogue. The Horror of It All is a memoir from the front lines of the horror industry that dissects (and occasionally defends) the massively popular phenomenon of scary movies.

Author Adam Rockoff delivers “the sharpest pop culture criticism you’ll find in any medium today,” (Rue Morgue) as he traces the highs and lows of the genre through the lens of his own obsessive fandom, which began in the horror aisles of his childhood video store and continued with a steady diet of cable trash. From the convergence of horror and heavy metal, to Siskel and Ebert’s crusade against the slasher flick, to the legacy of the Scream franchise, and the behind-the-scenes work of horror directors and make-up artists, Rockoff mines the rich history of the genre, braiding critical analysis with his own firsthand experiences as a horror writer and producer. Filled with mordant wit and sharp insight, The Horror of It All “is an amiable and often amusing guide” (Kirkus Reviews) that explains why horror films not only endure, but continue to prosper. Be afraid. Be very afraid.
Over the last two decades, Japanese filmmakers have produced some of the most important and innovative works of cinematic horror. At once visually arresting, philosophically complex, and politically charged, films by directors like Tsukamoto Shinya (Tetsuo: The Iron Man [1988] and Tetsuo II: Body Hammer [1992]), Sato Hisayasu (Muscle [1988] and Naked Blood [1995]) Kurosawa Kiyoshi (Cure [1997], Seance [2000], and Kairo [2001]), Nakata Hideo (Ringu [1998], Ringu II [1999], and Dark Water [2002]), and Miike Takashi (Audition [1999] and Ichi the Killer [2001]) continually revisit and redefine the horror genre in both its Japanese and global contexts. In the process, these and other directors of contemporary Japanese horror film consistently contribute exciting and important new visions, from postmodern reworkings of traditional avenging spirit narratives to groundbreaking works of cinematic terror that position depictions of radical or `monstrous? alterity/hybridity as metaphors for larger socio-political concerns, including shifting gender roles, reconsiderations of the importance of the extended family as a social institution, and reconceptualisations of the very notion of cultural and national boundaries.ContentsList of Illustrations Acknowledgements Introduction: `New Waves?, Old Terrors, and Emerging Fears Guinea Pigs and Entrails: Cultural Transformations and Body Horror in Japanese Torture Film Cultural Transformation, Corporeal Prohibitions and Body Horror in Sato Hisayasu's Naked Blood and Muscle Ghosts of the Present, Spectres of the Past: The kaidan and the Haunted Family in the Cinema of Nakata Hideoand Shimizu Takashi A Murder of Doves: Youth Violence and the Rites of Passing in Contemporary Japanese Horror Cinema Spiraling into Apocalypse: Sono Shion's Suicide Circle, Higuchinsky's Uzumaki and Kurosawa Kiyoshi's Pulse New Terrors, Emerging Trends, and the Future of Japanese Horror CinemaWorks Cited and Consulted Index
More than half a century after its translation into English, Erich Auerbach's Mimesis remains a masterpiece of literary criticism. A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics.

A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There he wrote Mimesis, publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how from antiquity to the twentieth century literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive--and impassioned--response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours.


For many readers, both inside and outside the academy, Mimesis is among the finest works of literary criticism ever written. This Princeton Classics edition includes a substantial introduction by Edward Said as well as an essay in which Auerbach responds to his critics.

Evil threatens human reason, for it challenges our hope that the world makes sense. For eighteenth-century Europeans, the Lisbon earthquake was manifest evil. Today we view evil as a matter of human cruelty, and Auschwitz as its extreme incarnation. Examining our understanding of evil from the Inquisition to contemporary terrorism, Susan Neiman explores who we have become in the three centuries that separate us from the early Enlightenment. In the process, she rewrites the history of modern thought and points philosophy back to the questions that originally animated it.

Whether expressed in theological or secular terms, evil poses a problem about the world's intelligibility. It confronts philosophy with fundamental questions: Can there be meaning in a world where innocents suffer? Can belief in divine power or human progress survive a cataloging of evil? Is evil profound or banal? Neiman argues that these questions impelled modern philosophy. Traditional philosophers from Leibniz to Hegel sought to defend the Creator of a world containing evil. Inevitably, their efforts--combined with those of more literary figures like Pope, Voltaire, and the Marquis de Sade--eroded belief in God's benevolence, power, and relevance, until Nietzsche claimed He had been murdered. They also yielded the distinction between natural and moral evil that we now take for granted. Neiman turns to consider philosophy's response to the Holocaust as a final moral evil, concluding that two basic stances run through modern thought. One, from Rousseau to Arendt, insists that morality demands we make evil intelligible. The other, from Voltaire to Adorno, insists that morality demands that we don't.


Beautifully written and thoroughly engaging, this book tells the history of modern philosophy as an attempt to come to terms with evil. It reintroduces philosophy to anyone interested in questions of life and death, good and evil, suffering and sense. Featuring a substantial new afterword by Neiman that raises provocative questions about Hannah Arendt's take on Adolf Eichmann and the rationale behind the Hiroshima bombing, this Princeton Classics edition introduces a new generation of readers to this eloquent and thought-provoking meditation on good and evil, life and death, and suffering and sense.

©2019 GoogleSite Terms of ServicePrivacyDevelopersArtistsAbout Google|Location: United StatesLanguage: English (United States)
By purchasing this item, you are transacting with Google Payments and agreeing to the Google Payments Terms of Service and Privacy Notice.