Perché non sono cristiano.

Traduzione di Gianna Tornabuoni. Milano, Longanesi Ed. 1966, cm.12x19, pp.250, tascabile, copertina figurata a colori. Collana Pocket Saggi.

Traduz.di Luca Pavolini. Milano, Longanesi & C. Ed. 1963, cm.12x18, pp.235, brossura con sopraccop. Collana La Fronda,26.

Traduzione di Jean Sanders e Leonardo Breccia. Introduzione di Flavio Manieri. Roma, Newton Compton italiana 1971, cm.12x19,5, pp.285, brossura con copertina figurata a colori. Collana Paperbacks Saggi,3.

Traduit de l'anglais par N.Rabinot. Paris, Payot 1951, cm.14,5x23, pp.156, brossura intonso. Esempl. ingiallito per il tipo di carta. Collection Bibliothèque Scientifique.

A cura di Richard Appignanesi. Icon Books 2001, cm.14x21, pp.176 ill.bn. brossuracopertina figurata a colori. The last few decades have seen an explosion in the production of critical theories, with deconstructionists, poststructuralists, postmodernists, second-wave feminists, new historicists, cultural materialists, postcolonialists, black critics and queer theorists, among a host of others, all vying for our attention. The world around us can look very different depending on the critical theory applied to it. This vast range of interpretations can leave one feeling confused and frustrated. Introducing Critical Theory provides a route through the tangled jungle of competing theories. It provides a context for these recent developments by situating them within the longer-term tradition of critical analysis going back to the rise of Marxism. The essential methods and objectives of each theoretical school are presented in an incisive and accessible manner. Special attention is paid to recurrent themes and concerns that have preoccupied a century of critical theoretical activity.

Bergen National Academy of the Arts 2005, cm.16,5x22, pp.110 , 52 ill.a colori.in tavole. brossura con copertina figurata a colori. The author approaches craft from three different perspectives; the historical, aesthetic, and the contemporary art perspective. She also discusses what happens what happens when the material becomes the medium and argues in defense of beauty as having value in itself.