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One hundred years after the outbreak of World War I and the Russian Revolution, none of the problems of the twentieth century--devastating wars, economic crises, social inequality, and the threat of dictatorship--have been solved. In fact, they are posed even more sharply today. David North argues against contemporary historians who maintain that the dissolution of the USSR signaled the "end of history" (Fukuyama), or the "short twentieth century"(Hobsbawm). Disputing postmodernism's view that all history is merely subjective "narrative," North insists that a thorough materialist knowledge of history is vital for humanity's survival in the twenty-first century.

"David North argues that, to the extent that the twentieth century is defined as an epoch of intense capitalist crisis, it is most appropriately characterized as 'unfinished.' The central economic, social and political contradictions that confront mankind at the start of the twenty-first century are essentially the same as those it confronted at the beginning of the twentieth"--Provided by publisher.

Unfinished Revolution is the first study to gather nineteenth-century representations and performances of Haitian sovereignty in the Atlantic world. In assembling this undiscovered archive of black power, this book offers compelling evidence of the ways that sovereignty and blackness intersect with unstable processes of modernity to produce an articulation of black authority always, already under threat for eradication or ridicule. Undeterred, nineteenth-century Haitian leaders mounted a century's-long battle to situate Haiti at the centre of the Atlantic world.

"The Unfinished Programme of Democracy" by Richard Roberts. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

In The Unfinished Enlightenment, Joanna Stalnaker offers a fresh look at the French Enlightenment by focusing on the era's vast, collective attempt to compile an ongoing and provisional description of the world. Through a series of readings of natural histories, encyclopedias, scientific poetry, and urban topographies, the book uncovers the deep epistemological and literary tensions that made description a central preoccupation for authors such as Buffon, Bernardin de Saint-Pierre, Diderot, Delille, and Mercier. Stalnaker argues that Enlightenment description was the site of competing truth claims that would eventually resolve themselves in the modern polarity between literature and science. By the mid-nineteenth century, the now habitual association between description and the novel was already firmly anchored in French culture, but just a century earlier, in the diverse network of articles on description in Diderot and d'Alembert's Encyclopédie and in the works derived from it, there was not a single mention of the novel. Instead, we find articles on description in natural history, geometry, belles-lettres, and poetry. Stalnaker builds on the premise that the tendency to view description as the inevitable (and subservient) partner of narration—rather than as a universal tool for making sense of knowledge in all fields—has obscured the central place of description in Enlightenment discourse. As a result, we have neglected some of the most original and experimental works of the eighteenth century.

The question of 'finish' in the artistic endeavour has been regarded with increasing fascination since the Renaissance. In the graphic arts this question has involved what it means to achieve aesthetic resolution in printmaking. The Unfinished Print investigates for the first time the history of finish and unfinish in printmaking from the fifteenth to the early twentieth century.

From the dawn of humankind, men and women have looked at change--as wrought by weather, the seasons, and, most strikingly, the inexorable advance of time--as something essentially to be feared. And partially from this fear the great religions and mythologies have arisen, systems which gave meaning to the ever-changing world, and, quite often, immortality to ourselves. By the late nineteenth century, the quest for ultimate meanings became largely the province of science, and today, change still figures (on the surface, at least) as a malevolent force: most of the cosmological theories formulated in recent years predict the ultimate extinction of the world by universal entropy.Bringing together the evidence and insights of biology and physics, of astronomy and cosmology, Louise Young offers a profoundly original and stirring vision of order, form, change, and the creative forces in the universe. Opposing the long-held beliefs of many scientists that the universe is running down and will eventually collapse upon itself, Young eloquently argues that the tendency toward increasing entropy is merely one aspect of a single process that is creating more complex, highly organized, and more efficient forms of matter all the time, and at every level--from the microscopic to the stellar.In vivid, compelling prose, Louise Young--an award-winning writer on science and a former physicist--takes us on an unforgettable tour of the world around us, showing how even the most ordinary aspects of life and the universe display a strangely beautiful symmetry. She clearly demonstrates that creation was not simply some big-bang eons ago, but rather is an ongoing process, one in which we are both witnesses and participants. Illustrating her findings with many remarkable photographs and fascinating examples ranging from geology to animal behavior, and from oceanography to genetics, Young gracefully canvasses the themes of growth, change creativity, and the mystery of the universe in a book that is as much poetry as it is science.Based on solid scientific knowledge, yet informed by a refreshingly philosophical sensibility, The Unfinished Universe is a book that will inspire anyone who has ever questioned their place and purpose in a world filled with uncertainty and change.

This book is a short introduction to one of the most remarkable transformations in the modern world that many people still do not know about. In 1900 more than 80 percent of the world’s Christians lived in Europe and North America and nearly all of the world’s missionaries were sent out “from the West to the rest.” In a dramatic turn of events Christianity experienced a decidedly “Southern shift” during the twentieth century. Today nearly 70 percent of the world’s 2.5 billion Christians live in Africa, Asia, and Latin America, while nearly half of all missionaries are being sent out into all the world from places like Brazil, Ethiopia, and South Korea. This book is intended to change the way readers think about the church and challenge the way Western Christians engage in contemporary missions.

Keuze uit het werk van de Franse filosoof (1897-1962).

Presents three incomplete O'Neill plays, including his notes, and provides background information on their characters, themes, and plots

A collection of his columns for the "New York Post" during the last decade.

Travelling through the history of art from the 15th till the 20th century, The Unfinished Painting is an ambitious survey of works of art by Old and Modern Masters including Van Eyck, Leonardo, Michelangelo, Rubens, David, Manet, Cézanne, Matisse and Mondrian that have remained deliberately or unintentionally unfinished, and that are usually marginalized in traditional art history. They remain incomplete for various reasons: illness or death of the artist; political turmoil forcing him to flee; disagreements with the commissioner or dissatisfaction with the artistic result. However, from the 16th century onwards, artists started to use the non finito as a tool of expression. Unfinished pictures therefore gained a certain reputation in the romantic era, when they were thought to offer the spectator a glimpse of artistic genius. In the 20th century, these paintings were discovered by cubists, expressionists and abstract painters who were fascinated by their rough and incoherent appearance, often unaware of their history. This book follows the creative process of some fifty such paintings, offering a new perspective on the history of Western Art.