David Leopold – författare

'The only English utopia since More's that deserves to be remembered as literature.'News from Nowhere (1890) is the best-known prose work of William Morris. The novel describes the encounter between a visitor from the nineteenth century, William Guest, and a decentralized and humane socialist future. Set over a century after a revolutionary upheaval in 1952, these 'Chapters from a Utopian Romance' recount his journey across London and up the Thames to Kelmscott Manor, Morris's own country house in Oxfordshire. Drawing on the work of John Ruskin and Karl Marx, Morris's book is not only an evocative statement of his egalitarian convictions but also a distinctive contribution to the utopian tradition. Morris's rejection of state socialism and his ambition to transform the relationship between humankind and the natural world, giveNews from Nowhere a particular resonance for modern readers.The text is based on that of 1891, incorporating the extensive revisions made by Morris to the first edition.ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Max Stirner's The Ego and Its Own is striking and distinctive in both style and content. First published in 1844, Stirner's distinctive and powerful polemic sounded the death-knell of left Hegelianism, with its attack on Ludwig Feuerbach, Bruno and Edgar Bauer, Moses Hess and others. It also constitutes an enduring critique of both liberalism and socialism from the perspective of an extreme eccentric individualism. Karl Marx was only one of many contemporaries provoked into a lengthy rebuttal of Stirner's argument. Stirner has been portrayed, variously, as a precursor of Nietzsche (both stylistically and substantively), a forerunner of existentialism and as an individualist anarchist. This edition of his work comprises a revised version of Steven Byington's much praised translation, together with an introduction and notes on the historical background to Stirner's text.

The Young Karl Marx is an innovative and important study of Marx's early writings. These writings provide the fascinating spectacle of a powerful and imaginative intellect wrestling with complex and significant issues, but they also present formidable interpretative obstacles to modern readers. David Leopold shows how an understanding of their intellectual and cultural context can illuminate the political dimension of these works. An erudite yet accessible discussion of Marx's influences and targets frames the author's critical engagement with Marx's account of the emergence, character, and (future) replacement of the modern state. This combination of historical and analytical approaches results in a sympathetic, but not uncritical, exploration of such fundamental themes as alienation, citizenship, community, anti-semitism, and utopianism. The Young Karl Marx is a scholarly and original work which provides a radical and persuasive reinterpretation of Marx's complex and often misunderstood views of German philosophy, modern politics, and human flourishing.

Max Stirner's The Ego and Its Own is striking and distinctive in both style and content. First published in 1844, Stirner's distinctive and powerful polemic sounded the death-knell of left Hegelianism, with its attack on Ludwig Feuerbach, Bruno and Edgar Bauer, Moses Hess and others. It also constitutes an enduring critique of both liberalism and socialism from the perspective of an extreme eccentric individualism. Karl Marx was only one of many contemporaries provoked into a lengthy rebuttal of Stirner's argument. Stirner has been portrayed, variously, as a precursor of Nietzsche (both stylistically and substantively), a forerunner of existentialism and as an individualist anarchist. This edition of his work comprises a revised version of Steven Byington's much praised translation, together with an introduction and notes on the historical background to Stirner's text.

The Young Karl Marx is an innovative and important study of Marx's early writings. These writings provide the fascinating spectacle of a powerful and imaginative intellect wrestling with complex and significant issues, but they also present formidable interpretative obstacles to modern readers. David Leopold shows how an understanding of their intellectual and cultural context can illuminate the political dimension of these works. An erudite yet accessible discussion of Marx's influences and targets frames the author's critical engagement with Marx's account of the emergence, character, and (future) replacement of the modern state. This combination of historical and analytical approaches results in a sympathetic, but not uncritical, exploration of such fundamental themes as alienation, citizenship, community, anti-semitism, and utopianism. The Young Karl Marx is a scholarly and original work which provides a radical and persuasive reinterpretation of Marx's complex and often misunderstood views of German philosophy, modern politics, and human flourishing.

I am down to a pencil, a pen, and a bottle of ink. I hope one day to eliminate the pencil. Al Hirschfeld redefined caricature and exemplified Broadway and Hollywood, enchanting generations with his mastery of line. His art appeared in every major publication during nine decades of the twentieth and twenty-first centuries, as well as on numerous book, record, and program covers; film posters and publicity art; and on fifteen U.S. postage stamps. Now, The Hirschfeld Century brings together for the first time the artist’s extraordinary eighty-two-year career, revealed in more than 360 of his iconic black-and-white and color drawings, illustrations, and photographs—his influences, his techniques, his evolution from his earliest works to his last drawings, and with a biographical text by David Leopold, Hirschfeld authority, who, as archivist to the artist, worked side by side with him and has spent more than twenty years documenting the artist’s extraordinary output. Here is Hirschfeld at age seventeen, working in the publicity department at Goldwyn Pictures (1920–1921), rising from errand boy to artist; his year at Universal (1921); and, beginning at age eighteen, art director at Selznick Pictures, headed by Louis Selznick (father of David O.) in New York. We see Hirschfeld, at age twenty-one, being influenced by the stylized drawings of Miguel Covarrubias, newly arrived from Mexico (they shared a studio on West Forty-Second Street), whose caricatures appeared in many of the most influential magazines, among them Vanity Fair. We see, as well, how Hirschfeld’s friendship with John Held Jr. (Held’s drawings literally created the look of the Jazz Age) was just as central as Covarrubias to the young artist’s development, how Held’s thin line affected Hirschfeld’s early caricatures. Here is the Hirschfeld century, from his early doodles on the backs of theater programs in 1926 that led to his work for the drama editors of the New York Herald Tribune (an association that lasted twenty years) to his receiving a telegram from The New York Times, in 1928, asking for a two-column drawing of Sir Harry Lauder, a Scottish vaudeville singing sensation making one of his (many) farewell tours, an assignment that began a collaboration with the Times that lasted seventy-five years, to Hirschfeld’s theater caricatures, by age twenty-five, a drawing appearing every week in one of four different New York newspapers. Here, through Hirschfeld’s pen, are Ethel Merman, Benny Goodman, Judy Garland, Mickey Rooney, Katharine Hepburn, the Marx Brothers, Barbra Streisand, Elia Kazan, Mick Jagger, Ella Fitzgerald, Laurence Olivier, Martha Graham, et al. . . . Among the productions featured: Fiddler on the Roof, West Side Story, Rent, Guys and Dolls, The Wizard of Oz (Hirschfeld drew five posters for the original release), Gone with the Wind, The Sopranos, and more. Here as well are his brilliant portraits of writers, politicians, and the like, among them Ernest Hemingway (a pal from 1920s Paris), Tom Wolfe, Charles de Gaulle, Nelson Mandela, Joseph Stalin, Winston Churchill, and every president from Franklin D. Roosevelt to Bill Clinton. Sumptuous and ambitious, a book that gives us, through images and text, a Hirschfeld portrait of an artist and his age. 

From the Hardcover edition.

Max Stirner''s The Ego and Its Own is striking and distinctive in both style and content. First published in 1844, Stirner''s distinctive and powerful polemic sounded the death-knell of left Hegelianism, with its attack on Ludwig Feuerbach, Bruno and Edgar Bauer, Moses Hess and others. It also constitutes an enduring critique of both liberalism and socialism from the perspective of an extreme eccentric individualism. Karl Marx was only one of many contemporaries provoked into a lengthy rebuttal of Stirner''s argument. Stirner has been portrayed, variously, as a precursor of Nietzsche (both stylistically and substantively), a forerunner of existentialism and as an individualist anarchist. This edition of his work comprises a revised version of Steven Byington''s much praised translation, together with an introduction and notes on the historical background to Stirner''s text.

This national bestseller presents 25 favorite Al Hirschfeld portraits drawn from Stephen Sondheim’s musicals. The art prints in this oversize poster book can be easily removed and framed, making it an ideal gift for Sondheim fans. This first volume in a series of deluxe Hirschfeld poster books contains art drawn from life before the opening night of each of Sondheim’s productions. On the reverse side are rare, ancillary images from the archives, as well as an introduction by Bernadette Peters, an essay by Ben Brantley, and text by David Leopold, Hirschfeld’s archivist and creative director of the Al Hirschfeld Foundation.Hirschfeld’s images capture the essence of the performances even better than the photographs of the shows. All of Sondheim’s best-known plays are included—West Side Story, Follies, A Funny Thing Happened on the Way to the Forum, Sweeney Todd, Merrily We Roll Along, and Sunday in the Park with George.Al Hirschfeld drew his first Sondheim show in 1957—West Side Story. In his iconic, illustrative style, Hirschfeld captured almost all of Sondheim’s Broadway shows and several films featuring the composer’s songs and scripts.Sondheim was a Hirschfeld collector, acquiring drawings directly from the artist and through his friends and collaborators like Hal Prince. In his last interview just five days before his death on November 26, 2021, the New York Times ran a photo of Sondheim in his home with an image of Hirschfeld’s Putting it Together in the background.All images for this book have been scanned from the archives of the Al Hirschfeld Foundation, ensuring the highest possible quality.

Esta brillante obra invita al lector a adentrarse en los primeros escritos de Karl Marx. Asumiendo como metodología de trabajo una acertada combinación de enfoques históricos, del contexto cultural e intelectual del joven Marx, y analíticos, de sus brillantes, imaginativos e innovadores escritos, el profesor David Leopold presenta un estudio comprensivo y crítico al mismo tiempo. Así, estudia, entre otras cuestiones, elementos clave como la alienación, el concepto de ciudadanía y el de comunidad, el antisemitismo y el utopismo en el pensamiento inicial de Karl Marx.Rigurosa y original, El joven Karl Marx es una obra que reinterpreta de un modo convincente y radical la visión marxiana, tantas veces malinterpretada, de la filosofía alemana, la política moderna y la realización humana.