Karl Marx's magnum opus, 'The Capital', is a monumental work that delves into the complexities of capitalist society and economic systems. Comprised of three volumes, this influential text not only analyzes the economic structure of capitalism but also critiques the exploitation of labor and the resulting class struggle. Marx's writing style is scholarly and rigorous, drawing on a wide range of economic, political, and philosophical theories to support his arguments. Within the context of 19th-century Europe, 'The Capital' stands as a cornerstone of Marxist thought and remains a pivotal text in the study of political economy and social theory. It is a thorough exploration of capitalism's inherent contradictions and the potential for revolutionary change. Recommended for readers interested in delving into the intricacies of economic systems and the critique of capitalism.

Karl Marx's 'The Capital' is a seminal work in the field of political economy, exploring the relationships between labor, value, and capitalist production. Written in a dense and analytical style, Marx delves into the intricacies of capitalism, critiquing its exploitation of the working class and the inherent contradictions within the system. The book is a cornerstone of Marxist theory, providing readers with a critical understanding of the economic forces at play in society. Its powerful ideas have had a lasting impact on politics and economics, shaping movements for social change around the world. In 'The Capital,' Marx presents a comprehensive analysis of the capitalist mode of production, offering a detailed critique of the inequalities and injustices it perpetuates. Through thorough research and logical argumentation, Marx creates a powerful narrative that challenges readers to think critically about the economic systems that govern our lives. Recommended for those interested in understanding the roots of capitalism and its impact on society.

This eBook has been formatted to the highest digital standards and adjusted for readability on all devices. This book is a critical analysis of political economy, meant to reveal the contradictions of the capitalist mode of production, how it was the precursor of the socialist mode of production and of the class struggle rooted in the capitalist social relations of production. Karl Marx (1818–1883) was a famous German philosopher, economist, historian, political theorist, sociologist, journalist and revolutionary socialist.

ÒMoney is the alienated essence of man's labor and life; and this alien essence dominates him as he worships it.Ó -Capital, Vol 1: A Critical Analysis of Capitalist Production This version of Capital Volume 1, Marx's highest achievement in economics, is based on the English edition of 1887. It is presented here in a large, easy to read format, with large margins perfect for note-taking. Karl Marx: Born May 5, 1818, in Trier Germany. Died March 14, 1883 in London, England, a ""stateless"" person.

In Karl Marx's seminal work, CAPITAL, encompassing all three books, readers are immersed in a detailed analysis of the capitalist mode of production. Marx delves into the structures and workings of capitalism, illustrating the exploitation of labor and the accumulation of capital. His writing style is characterized by rigorous economic analysis interwoven with philosophical and historical insights, making this book a cornerstone of Marxist literature. Written in the mid-19th century, CAPITAL remains relevant today in its critique of the inherent contradictions within capitalism and its impact on society. Marx's exploration of alienation, commodity fetishism, and class struggle continues to influence contemporary social and economic thought. Karl Marx, a German philosopher and economist, was a prominent figure in the socialist movement. His experiences witnessing the harsh realities of industrialization and the working class struggle influenced his development of Marxist theory. CAPITAL reflects Marx's lifelong commitment to understanding and challenging the socio-economic structures that perpetuate inequality and exploitation. I highly recommend CAPITAL to readers interested in delving into the fundamentals of Marxist theory and gaining an insightful critique of the capitalist system. This groundbreaking work offers valuable perspectives on economic justice, class dynamics, and the power dynamics at play in contemporary society.

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What is art history? Why, how and where did it originate, and how have its aims and methods changed over time? The history of art has been written and rewritten since classical antiquity. Since the foundation of the modern discipline of art history in Germany in the late eighteenth century,debates about art and its histories have intensified. Historians, philosophers, psychologists and anthropologists among others have changed our notions of what art history has been, is, and might be. This anthology is a guide to understanding art history through a critical reading of the field''s most innovative and influential texts over the past two centuries. Each section focuses on a key issue: aesthetics, style, history as an art, iconography and semiology, gender, modernity and postmodernity, deconstruction and museology. More than thirty readings from writers as diverse as Winckelmann, Kant, Gombrich, Warburg, Panofsky, Heidegger, Lisa Tickner,Meyer Schapiro, Jacques Derrida, Mary Kelly, Michel Foucault, Rosalind Krauss, Louis Marin, Margaret Iversen and Nestor Canclini are brought together, and Donald Preziosi''s introductions to each topic provide background information, bibliographies, and critical elucidations of the issues at stake.His own concluding essay is an important and original contribution to scholarship in the field. From the pre-publication reviews: ''Until now, anthologies about the history of art have tended to be worthy yet inert, plotting a linear evolution from the great precursors (Vasari, Winckelmann) to the founding fathers of the modern discipline (Wolfflin, Riegl, Panofsky) to the achievements and refinements of today''s scholarship.The texts that Donald Preziosi has brought together provide something far more challenging: the juxtapositions and alignments between individual essays point the reader towards unresolved problems, ongoing debates, and paths not takenor not taken yet. In place of the consoling tale of intellectualprogress, the collection defamiliarizes the whole field, and opens up a space for radical reflection on its basic procedures and assumptions. Definitely the best introduction to art history currently available.'' Professor Norman Bryson, Harvard University ''Donald Preziosi has prepared an anthologyfrom the Greek, a collection of flowersof art history. His bouquet contains representatives from the discipline''s two-hundred year history, arranged in standard and innovative methodological categories. Within each, the readings selected providestimulating congruencies and contradictions that will inspire productive debate and contemplation. But what makes this anthology more than an arresting assemblage is the author''s critical stance toward what he has wrought. His introduction and concluding chapter write around and under the subjectspresented, emphasizing the ''art'' of art history, its kinship with modernity''s post-Enlightenment project, and its collaboration with the rise of nationalism. Thus the discipline''s past is probed and questioned and made relevant for its present and future. The whole thereby addresses, withouthealing or concealing, the disciplinary ruptures of modernism. The book might also have explored further nature of art history''s history within the emergent discourse of post-colonialism and the globalization of culture Yet the many new perspectives it does offer help to re-present the discipline for its readers, students, teachers, and curators, for other areas of humanistic inquiry, which are being subject to similar critiques, and for artists and the larger art community, for whom history, narrative, and anaccounting of art''s past have once again become vital issues'' Professor Robert S. Nelson, Professor of Art History and Chair, Committee for the History of Culture, University of Chicago ''Rather than focusing on its Vasarian moment or on the later academic institutionalization of art history in the 19th and 20th centuries, Donald Preziosi, in The Art of Art History, constructs a reading of this hegemonic and reductive practice of making ''the visible legible'' as one that isinextricably tied to the museographic paradigm of late 18th and early 19th centuries. This shift, he sees as equivalent in importance to the brought by the ''invention'' of perspective. But the author goes further than to underline the implication of art history with the premises of modernity, hemakes a strong case, in a vivid and inspiring prose, for a tighter equation between art history and modernity: an equation grounded in his insightful considerations (and meteoric formulations) of the epistemological setting, rhetorical operations political (colonialist) aims and schizophrenic yetall-invasive aestheticization of knowledge that, in the last two centuries, have fashioned what we will no longer dare to call the discipline of art history. The result is a flamboyant book that offers anything but a celebratory reading of art history. It does not constitute an articulation of canonical texts or an up-to-date menu of art historical currents, methods, or trends. Yet it manages to avoid none of these dimensions. Art history is notenvisages as the learned discourse of modernity on a specific class of objects nor is it reduced to a genealogy of outstanding artist-subjects and their volatile constellations of contemporary subjects-readers. It becomes a practice wherein objects and subjects relate and relations oftencrystallize, under the unrecognized aegis of the fetish, this Other of art, since Preziosi concisely defines art as ''the anti-fetish fetish''. Far from the fantastic neutrality that is traditionally found in the format of such an historiographic endeavour, Preziosi frames his selection of text andthreads through them with an array of different strategic voices, superimposed (to stress a spatial figure he is keen to discern) in order to elaborate a strong polemic position that situates art history as an enduring and well disguised fictional genre. In the process, the author courageouslytakes on the paradox that is at the core of his project: to introduce students to the coming out o art history... as art, one that is not necessarily meant to be our coming out of it but that certainly well establishes our motives to continue to shake its grounds and its multi-storied apparatus.'' Professor Johanne Lamoureux, University of Montreal.