What does imagination do for our perception of the world? Why should reality be broken off from our imagining of it? It was not always thus, and in these essays, Tim Ingold sets out to heal the break between reality and imagination at the heart of modern thought and science. Imagining for Real joins with a lifeworld ever in creation, attending to its formative processes, corresponding with the lives of its human and nonhuman inhabitants. Building on his two previous essay collections, The Perception of the Environment and Being Alive , this book rounds off the extraordinary intellectual project of one of the world’s most renowned anthropologists. Offering hope in troubled times, these essays speak to coming generations in a language that surpasses disciplinary divisions. They will be essential reading not only for anthropologists but also for students in fi elds ranging from art, aesthetics, architecture and archaeology to philosophy, psychology, human geography, comparative literature and theology.

Contributors discuss early printed books and manuscripts between the 14th and 16th centuries under the section headings of: 'Imagined compilers and editors', 'Imagined patrons and collectors', Imagined readings and readers' and 'Beyond the book: verbal and visual cultures'.

The current education climate has brought the development of classroom drama as an art form to a standstill. Practitioners need to make a qualitative leap forward in both theory and practice in order to respond to the cultural demands of the times.By linking the best of the ground-breaking work of Dorothy Heathcote and Gavin Bolton with the pioneering developments in theatre form by the playwright Edward Bond, David Davis identifies a possible way forward. In part one he critiques present drama in education - Mantle of the Expert approaches, conventions drama forms and post-dramatic theatre. In part two he restates and develops the best practice of the last fifty years, centring on the key importance of 'living through' drama. In part three he applies the new drama/theatre form of Edward Bond to begin building a new theory of drama in education and so transform classroom practice. Imagining the Real will be essential reading for drama students at first and higher degree level, students on initial courses of teacher education, drama teachers, lecturers in higher and further education and theatre workers generally.

Rising inequality of income and power, along with recent convulsions in the finance sector, have made the search for alternatives to unbridled capitalism more urgent than ever. Yet few are attempting this task-most analysts argue that any attempt to rethink our social and economic relations is utopian. Erik Olin Wright's major new work is a comprehensive assault on the quietism of contemporary social theory. A systematic reconstruction of the core values and feasible goals for Left theorists and political actors, Envisioning Real Utopias lays the foundations for a set of concrete, emancipatory alternatives to the capitalist system. Characteristically rigorous and engaging, this will become a landmark of social thought for the twenty-first century.

What is sensory imagining and what role does it play in our lives? How does visualizing a castle, running through a tune in one's head, or imagining the taste of fish ice cream relate to perceiving such things, or to remembering them? What are the connections between imagining and agency, and how does it relate to emotion and other affect? The Profile of Imagining offers a theory that answers these and many other questions. It argues that sensory imagining involves the redeployment of resources central to perception, though in a radically different context and to very different effect. The result is a view that explains central features of imagining's phenomenology and functional role, including its capacity to capture what it would be like to perceive its objects, while acknowledging the many and striking differences between imagining and sensing. Hopkins shows how the view can be extended to imagining in other forms, especially the imagining of affect; and uses it to argue for some surprising conclusions: that imagining something is not a way to engage with its aesthetic character; and that imagining provokes real feeling much less often than is usually assumed.

One of the foremost religious and social philosophers of the twentieth century, Martin Buber also wrote extensively on sociological subjects, particularly as these affected his philosophical concerns. Collected here, these writings offer essential insights into the human condition as it is expressed in culture and society. Buber's central focus in his sociological work is the relation between social interaction, or intersubjectivity, and the process of human creativity. Specifically, Buber seeks to define the nature and conditions of creativity, the conditions of authentic intersubjective social relations that nurture creativity in society and culture. He attempts to identify situations favorable to creativity that he believes exist to some extent in all cultures, though their fullest development occurs only rarely. Buber considers the combination of open dialogue between human and human and a dialogue between man and God to be necessary for the crystallization of the common discourse that is essential for holding a free, just, and open society together. Important for an understanding of Buber's thought, these writings—touching on education, religion, the state, and charismatic leadership—will be of profound value to students of sociology, philosophy, and religion.

Garrett Green examines the point at which divine revelation and human experience meet, where the priority of grace is acknowledged while allowing its dynamics to be described in analytical and comparative terms as a religious phenomenon.