The current global-justice literature starts from the premise that world poverty is the result of structural injustice mostly attributable to past and present actions of governments and citizens of rich countries. As a result, that literature recommends vast coercive transfers of wealth from rich to poor societies, alongside stronger national and international governance. Justice at a Distance, in contrast, argues that global injustice is largely home-grown and that these native restrictions to freedom lie at the root of poverty and stagnation. The book is the first philosophical work to emphasize free markets in goods, services, and labor as an ethical imperative that allows people to pursue their projects and as the one institutional arrangement capable of alleviating poverty. Supported by a robust economic literature, Justice at a Distance applies the principle of noninterference to the issues of wealth and poverty, immigration, trade, the status of nation-states, war, and aid.
Why should sovereign states obey international law? In this groundbreaking study Fernando Tesón argues that an overlapping respect for human rights has created a moral common ground among the countries of the world. It is this common set of values rather than self-interest that ultimately provides legitimacy to international law. Using the tools of moral philosophy Tesón analyzes the concepts of sovereignty, intervention, and national interest; the contributions of social contact theory, game theory, and feminist theory; and the puzzles of self-determination and group rights.
Why should sovereign states obey international law? In this groundbreaking study Fernando Tesón argues that an overlapping respect for human rights has created a moral common ground among the countries of the world. It is this common set of values rather than self-interest that ultimately provides legitimacy to international law. Using the tools of moral philosophy Tesón analyzes the concepts of sovereignty, intervention, and national interest; the contributions of social contact theory, game theory, and feminist theory; and the puzzles of self-determination and group rights.
With its astounding hardcover reviews Richard Zenith's new complete translation of THE BOOK OF DISQUIET has now taken on a similar iconic status to ULYSSES, THE TRIAL or IN SEARCH OF LOST TIME as one of the greatest but also strangest modernist texts. An assembly of sometimes linked fragments, it is a mesmerising, haunting 'novel' without parallel in any other culture.
For the first time—and in the best translation ever—the complete Book of Disquiet, a masterpiece beyond comparison The Book of Disquiet is the Portuguese modernist master Fernando Pessoa’s greatest literary achievement. An “autobiography” or “diary” containing exquisite melancholy observations, aphorisms, and ruminations, this classic work grapples with all the eternal questions. Now, for the first time the texts are presented chronologically, in a complete English edition by master translator Margaret Jull Costa. Most of the texts in The Book of Disquiet are written under the semi-heteronym Bernardo Soares, an assistant bookkeeper. This existential masterpiece was first published in Portuguese in 1982, forty-seven years after Pessoa’s death. A monumental literary event, this exciting, new, complete edition spans Fernando Pessoa’s entire writing life.
A temporary move to Toronto in the winter of 2000, a twisted ankle, an empty house -- all inspired Moure as she read Alberto Caeiro/Fernando Pessoa's classic long poem O Guardador de Rebanhos. For fun, she started to translate, altering tones and vocabularies. From the Portuguese countryside and roaming sheep of 1914, a 21st century Toronto emerged, its neighbourhoods still echoing the 1950s, their dips and hollows, hordes of wild cats, paved creeks. Her poem became a translation, a transcreation, the jubilant and irrepressible vigil of a fervent person. "Suddenly," says Moure impishly, "I had found my master." Caeiro's sheep were his thoughts and his thoughts, he claimed, were all sensations. Moure's sheep are stray cats and from her place in Caeiro's poetry, she creates a woman alive in an urban world where the rural has not vanished, where the archaic suffuses us even when we do not beckon it, and yet the present tense floods us fully.
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