Mills demonstrates how this peculiar and unacknowledged "contract" has shaped a system of global European domination: how it brings into existence "whites" and "non-whites," full persons and sub-persons, how it influences white moral theory and moral psychology; and how this system is imposed on non-whites through ideological conditioning and violence.The Racial Contract argues that the society we live in is a continuing white supremacist state. Holding up a mirror to mainstream philosophy, this provocative book explains the evolving outline of the racial contract from the time of the New World conquest and subsequent colonialism to the written slavery contract, to the "separate but equal" system of segregation in the United States. According to Mills, the contract has provided the theoretical architecture justifying an entire history of European atrocity against non-whites, from David Hume's and Immanuel Kant's claims that blacks had inferior cognitive power, to the Holocaust, to the kind of imperialism in Asia that was demonstrated by the Vietnam War. Mills suggests that the ghettoization of philosophical work on race is no accident. This work challenges the assumption that mainstream theory is itself raceless. Just as feminist theory has revealed orthodox political philosophy's invisible white male bias, Mills's explication of the racial contract exposes its racial underpinnings.

    Mother Teresa speaks of the principles that have underlined her ministry for so long - selflessness, forgiveness, compassion, and spiritual strength.

    On Stalin's orders, purged rivals were airbrushed from group portraits, and crowd scenes were altered to depict even greater legions of the faithful. In one famous image, several Party members disappeared from an official photograph, to be replaced by a sylvan glade. For the past three decades, author and photohistorian David King has assembled the world's largest archive of photographs, posters, and paintings from the Soviet era. His collection has grown to more than a quarter of a million images, the best of which have been selected for The Commissar Vanishes. The efforts of the Kremlin airbrushers were often unintentionally hilarious. A 1919 photograph showing a large crowd of Bolsheviks clustered around Lenin, for example, became, with the aid of the retoucher, an intimate portrait of Lenin and Stalin sitting alone, and then, in a later version, of Stalin by himself. The Commissar Vanishes is nothing less than the history of the Soviet Union, as retold through falsified images, many of them published here for the first time outside Russia. In each case, the juxtaposition of the original and the doctored images yields a terrifying - and often tragically funny - insight into one of the darkest chapters of modern history.

    A personal selection of the best interviews from eight classic books by America's much-loved pre-eminent oral historian, Studs Terkel.

    Racial imagery and racial representation are central to the organisation of the contemporary world but, while there are many studies of images of black and Asian people, whiteness is an invisible racial position. At the level of racial representation, whites are not of a certain race. They are just the human race, a 'colour' against which other ethnicities are always examined.In White, Richard Dyer looks beyond the apparent unremarkability of whiteness and argues for the importance of analysing images of white people. Dyer traces the representation of whiteness by whites in Western visual culture, focusing on the mass media of photography, advertising, fine art, cinema and television.Dyer examines the representation of whiteness and the white body in the contexts of Christianity, 'race' and colonialism. In a series of absorbing case studies, he discusses the representations of whiteness in muscle-man action cinema, from Italian 'peplum' movies to the Tarzan and Rambo series; shows the construction of whiteness in photography and cinema in the lighting of white and black faces, and analyses the representation of white women in end-of-empire fictions such as The Jewel in the Crown, and traces the disturbing association of whiteness with death, in vampire narratives and dystopian films such as Blade Runner and the Aliens trilogy.

    But today it is culture that stands at the heart of the American enterprise, mass entertainment the economic dynamo that brings the public into the consuming fold and consolidates the power of business over the American mind. For a decade The Baffler has been the invigorating voice of dissent against these developments, in the grand tradition of the muckrakers and The American Mercury. This collection gathers the best of its writing to explore such peculiar developments as the birth of the rebel hero as consumer in the pages of Wired and Details; the ever-accelerating race to market youth culture; the rise of new business gurus like Tom Peters and the fad for Hobbesian corporate "reengineering"; and the encroachment of advertising and commercial enterprise into every last nook and cranny of American life. With its liberating attitude and cant-free intelligence, this book is a powerful polemic against the designs of the culture business on us all.

    Delivering a devastating critique of contemporary discourses of American citizenship, she addresses the triumph of the idea of private life over that of public life borne in the right-wing agenda of the Reagan revolution. By beaming light onto the idealized images and narratives about sex and citizenship that now dominate the U.S. public sphere, Berlant argues that the political public sphere has become an intimate public sphere. She asks why the contemporary ideal of citizenship is measured by personal and private acts and values rather than civic acts, and the ideal citizen has become one who, paradoxically, cannot yet act as a citizen—epitomized by the American child and the American fetus. As Berlant traces the guiding images of U.S. citizenship through the process of privatization, she discusses the ideas of intimacy that have come to define national culture. From the fantasy of the American dream to the lessons of Forrest Gump, Lisa Simpson to Queer Nation, the reactionary culture of imperilled privilege to the testimony of Anita Hill, Berlant charts the landscape of American politics and culture. She examines the consequences of a shrinking and privatized concept of citizenship on increasing class, racial, sexual, and gender animosity and explores the contradictions of a conservative politics that maintains the sacredness of privacy, the virtue of the free market, and the immorality of state overregulation—except when it comes to issues of intimacy. Drawing on literature, the law, and popular media, The Queen of America Goes to Washington City is a stunning and major statement about the nation and its citizens in an age of mass mediation. As it opens a critical space for new theory of agency, its narratives and gallery of images will challenge readers to rethink what it means to be American and to seek salvation in its promise.

    Lippard, one of America's most influential art writers, weaves together cultural studies, history, geography, photography, and contemporary public art to provide a fascinating exploration of our multiple senses of place. Expanding her reach far beyond the confines of the art world, she discusses community, land use, perceptions of natures, how we produce the landscape, and how the landscape affects our lives.

    Ladd surveys the urban landscape, excavating its ruins, contemplating its buildings and memorials, and carefully deconstructing the public debates and political controversies emerging from its past."Written in a clear and elegant style, The Ghosts of Berlin is not just another colorless architectural history of the German capital. . . . Mr. Ladd's book is a superb guide to this process of urban self-definition, both past and present."—Katharina Thote, Wall Street Journal"If a book can have the power to change a public debate, then The Ghosts of Berlin is such a book. Among the many new books about Berlin that I have read, Brian Ladd's is certainly the most impressive. . . . Ladd's approach also owes its success to the fact that he is a good storyteller. His history of Berlin's architectural successes and failures reads entertainingly like a detective novel."—Peter Schneider, New Republic"[Ladd's] well-written and well-illustrated book amounts to a brief history of the city as well as a guide to its landscape."—Anthony Grafton, New York Review of Books

    This book traces the relationship between the reality and the invention. Based on a rich selection of travelogues, diplomatic accounts, academic surveys, journalism, and belles-lettres in many languages, Imagining the Balkans explores the ontology of the Balkans from the eighteenth century to the present day, uncovering the ways in which an insidious intellectual tradition was constructed, became mythologized, and is still being transmitted as discourse.The author, who was raised in the Balkans, is in a unique position to bring both scholarship and sympathy to her subject. A region geographically inextricable from Europe, yet culturally constructed as the other, the Balkans have often served as a repository of negative characteristics upon which a positive and self-congratulatory image of the European has been built. With this work, Todorova offers a timely, accessible study of how an innocent geographic appellation was transformed into one of the most powerful and widespread pejorative designations in modern history.

    This second edition includes accounts of the election campaign of Tony Blair which used an Ecstasy anthem as its musical theme, and the trial and acquittal of a 19-year-old for supplying the drug that killed Leah Betts, and her links to East End gangsters. Drawing on a wealth of background research and original interviews with key figures on both sides of the law, Altered State examines the causes and contexts, ideologies and myths of Ecstasy culture, dramatising its euphoric narrative from peak experience to comedown and aftermath, and shedding new light on the social history of the most spectacular youth movement of the century.

    Quaaludes. Howard Cosell. K-tel Records. In today's pop -culture spin cycle, the seventies and eighties rule -- as evidenced by everything from reruns on Nickelodeon and VH-1 to Brady Bunch movies and New Wave theme parties.Now, at last, there's Retro Hell -- a sassy, knowing travelogue through the best and worst of these unforgettable decades. Orchestrated by the editor of Ben Is Dead, winner of the Firecracker Alternative Book Awards 1995 Best 'Zine of the Year, Retro Hell both sends up and celebrates the cultural landscape of our misspent youth. Thirty Ben Is Dead writers and hundreds of readers helped assemble the nearly 1,000 sharply opinionated alphabetical entries and loopily authoritative sidebars. The icons, the eccentricities, the excesses, the kitsch -- it's all here, from alligator shirts, breakdancing, Earth Shoes, and Farrah Fawcett to bumper stickers, eight-tracks, Schoolhouse Rock, and John Travolta.Illustrated throughout with 100 black-and-white photographs and illustrations, Retro Hell is the definitive compendium of recent pop-culture arcana -- a fresh, funny look back for everyone who survived the seventies and eighties.

    This book provides a new understanding of a man who played a significant part in the Iranian revolution and an analysis of a current of political Islam that has influenced movements throughout the Middle East.This full-length political biography looks at Ali Shari`ati's life and thought in the context of the complex and contradictory cultural, social, and political conditions of the Iranian society that shaped him.

    Used copies of the hardcover edition have sold for up to $500.00. New Century Foundation is proud to offer this affordable softcover edition. It includes every word of the original, plus a new foreword by Jared Taylor.

    Scott DeVeaux takes a central chapter in the history of jazz—the birth of bebop—and shows how our contemporary ideas of this uniquely American art form flow from that pivotal moment. At the same time, he provides an extraordinary view of the United States in the decades just prior to the civil rights movement. DeVeaux begins with an examination of the Swing Era, focusing particularly on the position of African American musicians. He highlights the role played by tenor saxophonist Coleman Hawkins, a "progressive" committed to a vision in which black jazz musicians would find a place in the world commensurate with their skills. He then looks at the young musicians of the early 1940s, including Charlie Parker, Dizzy Gillespie, and Thelonious Monk, and links issues within the jazz world to other developments on the American scene, including the turmoil during World War II and the pervasive racism of the period. Throughout, DeVeaux places musicians within the context of their professional world, paying close attention to the challenges of making a living as well as of making good music. He shows that bebop was simultaneously an artistic movement, an ideological statement, and a commercial phenomenon. In drawing from the rich oral histories that a living tradition provides, DeVeaux's book resonates with the narratives of individual lives. While The Birth of Bebop is a study in American cultural history and a critical musical inquiry, it is also a fitting homage to bebop and to those who made it possible.

    Drawing on a wide variety of films and primary source materials including censorship files, critical reviews, promotional materials, fanzines, men's magazines, and popular news weeklies, the book examines the historical figure of the movie monster in relation to various medical, psychological, religious and social models of homosexuality. While recent work within gay and lesbian studies has explored how the genetic tropes of the horror film intersect with popular culture's understanding of queerness, this is the first book to examine how the concept of the monster queer has evolved from era to era. From the gay and lesbian sensibilities encoded into the form and content of the classical Hollywood horror film, to recent films which play upon AIDS-related fears. Monster in the Closet examines how the horror film started and continues, to demonize (or quite literally "monsterize") queer sexuality, and what the pleasures and "costs" of such representations might be both for individual spectators and culture at large.

    John Brewster's landmark book shows us how English artists, amateurs, entrepeneurs, and audiences created a culture that is still celebrated for its wit and brilliance.

    He undermines widespread misunderstandings of black culture and shows how they have contributed to the failure of social policy to save our cities.

    There is a need to define a sense of place through buildings and other means, at the moment when such a sense of place (fragile to begin with) is being threatened with erasure by a more and more insistently globalizing space".On June 30, 1997, Hong Kong as we know it will disappear, ceasing its singular and ambiguous existence as a colonial holdover and becoming part of the People's Republic of China. In an intriguing and provocative exploration of its cinema, architecture, photography, and literature, Ackbar Abbas considers what Hong Kong, with its unique relations to decolonization and disappearance, can teach us about the future of both the colonial city and the global city.The culture of Hong Kong encompasses Jackie Chan and John Woo, British colonial architecture and postmodern skyscrapers. Ironically, it was not until they were faced with the imposition of Mainland power -- with the signing of the Sino British Joint Agreement in 1984 -- that the denizens of the colony began the search for a Hong Kong identity. According to Abbas, Hong Kong's peculiar lack of identity is due to its status as "not so much a place as a space of transit", whose residents think of themselves as transients and migrants on their way from China to somewhere else.Abbas explores the way Hong Kong's media saturationchanges its people's experience of space so that it becomes abstract, dominated by signs and images that dispel memory, history, and presence.Hong Kong disappears through simple dualities such as East/West and tradition/modernity. What is missing from a view of Hong Kong as merely a colony is the paradox that Hong Kong has benefited from and made a virtue of its dependent colonial status, turning itself into a global and financial city and outstripping its colonizer in terms of wealth.Combining sophisticated theory and a critical perspective, this rich and thought-provoking work captures the complex situation of the metropolis that is contemporary Hong Kong. Along the way, it challenges, entertains, and makes an important contribution to our thinking about the surprising processes and consequences of colonialism.

    Combining examples with activities and selected readings it offers a unique resource for teachers and students in cultural studies and related fields as an introduction to this complex and central theme.

    Matsuda offers a strikingly insightful look at how our collective experiences of race, class, and gender inform our understanding of law and shape our vision of a more just society.

    "Because God loves stories." Storytelling has been part of Jewish religion and custom from earliest times and it remains a defining aspect of Jewish life. In Because God Loves Stories, folklorist Steve Zeitlin assembles the work of thirty-six Jewish storytellers, each of whom spins tales that express his or her own distinctive visions of Jewish culture. Contemporary storytellers re-interpret stories from the Talmud for modern sensibilities, the Grand Rabbi of Bluzhov tells tales of the Holocaust, beloved comedian Sam Levenson regales readers with hilarious vignettes of Jewish life in America, and much more.

    F. K. Fisher's letters are made public for the first time. Selected and compiled by her younger sister, her longtime secretary, and a close family friend, these highly personal pieces reveal some of Fisher's most private moments over six decades, giving ample display to her sharp wit and affectionate humor, her ongoing reflections on loss and the power to change.M. F. K. Fisher: A Life in Letters features an introduction by Anne Lamott and includes thirty-two pages of photographs from Fisher's family collection. Standing alongside her nonfiction, fiction, translation, and journals, this collection represents an important addition to the oeuvre of one of America's great literary talents.

    Codevilla illustrates that as people shape their governments, they shape themselves. Drawing broadly from the depths of history, from the Roman republic to de Tocqueville's America, as well as from personal and scholarly observations of the world in the twentieth century, The Character of Nations reveals remarkable truths about the effects of government on a society's economic arrangements, moral order, sense of family life, and ability to defend itself.Codevilla argues that in present-day America, government has had a profound negative effect on societal norms. It has taught people to seek prosperity through connections with political power; it has fostered the atrophy of civic responsibility; it has waged a Kulturkampf against family and religion; and it has dug a dangerous chasm between those who serve in the military and those who send it in harm's way. Informative and provocative, The Character of Nations shows how the political decisions we make have higher stakes than simply who wins elections.

    The chief curator of the Rock and R oll Hall of Fame and Museum presents a tribute of the style and sound of the Summer of Love '

    In Maine, cold can have so hard a grip that rivers freeze thick and clear, and ice is a crop that families depend upon for their livelihoods. Back in distant days of high-rigged schooners, what could children from two such very different places ever have in common? The deliciously satisfying answer, presented here with cut-paper pictures of a tropical island of always-summer and a New England village of very long winters, is given in the voices of two girls -- linked together by a sailor, a gift for imagining life in faraway places, and a taste for iced chocolate.

    Peter treasures Grandfather's gold watch, and it accompanies him on his adventures as he and his family cross the ocean to America and then cross the plains to settle in Utah. As young Peter grows into a man, he learns the value of Grandfather's questions: "What have you done with your name? What have you done with your time?"

    Even under the Protestantism of the reformed Church, the spiritual and social dramas of birth, marriage, and death were graced with elaborate ceremony. Powerful and controversial protocols were in operation, shaped and altered by the influences of the Reformation, the Revolution, and the Restoration.Each of the major rituals was potentially an arena for argument, ambiguity, and dissent. Ideally, as classic rites of passage, these ceremonies worked to bring people together. But they also set up traps into which people could stumble, and tests which not everybody could pass. In practice, ritual performance revealed frictions and fractures that everyday local discourse attempted to hide or to heal. Using fascinating first-hand evidence, David Cressy shows how the making and remaking of ritual formed part of a continuing debate, sometimes strained and occasionally acrimonious, which exposed the raw nerves of society in the midst of great historical events. In doing so, he vividly brings to life the common experiences of living and dying in Tudor and Stuart England.

    In this volume, Janet Gyatso translates and studies the outstanding pair of secret autobiographies by the famed Tibetan Buddhist visionary, Jigme Lingpa (1730-1798), whose poetic and self-conscious writings are as much about the nature of his own identity, memory, and the undecidabilities of autobiographical truth as they are narrations of the actual content of his experiences. Their translation in this book marks the first time that works of this sort have been translated in a Western language.Gyatso is among the first to consider Tibetan literature from a comparative perspective, examining the surprising fit--as well as the misfit--of Western literary theory with Tibetan autobiography. She examines the intriguing questions of why Tibetan Buddhists produced so many autobiographies (far more than other Asian Buddhists) and how autobiographical self-assertion is possible even while Buddhists believe that the self is ultimately an illusion. Also explored are Jigme Lingpa's historical milieu, his revelatory visions of the ancient Tibetan dynasty, and his meditative practices of personal cultivation. The book concludes with a study of the subversive female figure of the "Dakini" in Jigme Lingpa's writings, and the implications of her gender, her sexuality, and her unsettling discourse for the autobiographical subject in Tibet.

    Over 2 million of these alone, including countless children, died on the road or in concentration camps in Poland and elsewhere. That these deaths occurred at all is still being denied by Western governments.At the same time, Herbert Hoover and Canadian Prime Minister MacKenzie King created the largest charity in history, a food-aid program that saved an estimated 800 million lives during three years of global struggle against post–World War II famine—a program they had to struggle for years to make accessible to the German people, who had been excluded from it as a matter of official Allied policy.Never before had such revenge been known. Never before had such compassion been shown. The first English-speaking writer to gain access to the newly opened KGB archives in Moscow and to recently declassified information from the renowned Hoover Institution in California, James Bacque tells the extraordinary story of what happened to these people and why.Revised and updated for this new edition, bestseller Crimes and Mercies was first published by Little, Brown in the U.K. in 1997.

    But things are not so simple. For while the culture of modernity has spread gradually throughout the West for roughly two hundred years, it accelerated in the 1960s in such a way as to undergo a subtle transformation. Hence the paradox of the world we live in: by all appearances the "rights of man" have emerged triumphant, yet at the same time they have been emptied of substance because of their radicalization. Modern man finds himself isolated and ensnared. By right, his autonomy should strengthen him; but in fact, he has been dispossessed of himself. The great artifice of our time is to give conformism the mask of liberty. Philippe Beneton, a prominent French conservative, has long meditated on Tocqueville, and Equality by Default is quintessentially Tocquevillian in that it does not offer a partisan polemic but rather paints a picture of contemporary life -- a picture that is also a guide for those who have a difficult time "seeing" contemporary liberalism for what it is. Artfully translated by Ralph Hancock, Equality by Default offers a unique and strikingly insightful account of the late-modern mind.

    This perspective contributes to an overall critique of traditional approaches to modernity, development, and linear liberal narratives of culture, history, and democratic institutions. It also frames a set of alternative social practices that allows for connections to be made between feminist politics among immigrant women in Britain, women of color in the United States, and Muslim women in Iran, Egypt, Pakistan, and Canada; the work of subaltern studies in India, the Philippines, and Mexico; and antiracist social movements in North and South America, the Caribbean, and Europe. These connections displace modes of opposition traditionally defined in relation to the modern state and enable a rethinking of political practice in the era of global capitalism. Contributors. Tani E. Barlow, Nandi Bhatia, Dipesh Chakrabarty, Chungmoo Choi, Clara Connolly, Angela Davis, Arturo Escobar, Grant Farred, Homa Hoodfar, Reynaldo C. Ileto, George Lipsitz, David Lloyd, Lisa Lowe, Martin F. Manalansan IV, Aihwa Ong, Pragna Patel, José Rabasa, Maria Josefina Saldaña-Portillo, Jaqueline Urla

    Queerly Classed highlights the voices of those whose experiences of class-combined with race, ethnicity, gender, ability, and age to explode stereotypes of queers aspiring to assimilate into the mainstream of the American middle class.

    As well as detailed information on individual religious traditions, there are fascinating general entries on common topics such as prayer, ethics, asceticism, confession, cosmology, art and architecture, and music.

    As a nature writer, he was among the first to capture the fierce power and sublime beauty of California's wild landscape. He was also a maverick in his portrayal of the state's emotional landscape, dealing as no one has before or since with themes such as loneliness and defeat, melancholy and rage, weakness and strength, joy and loyalty.

    In sections titled "Verbiages, " "System Fantasies, " "Concealments, " and "Crypts, " Lyotard unravels and reconfigures idealist notions of subjects as various and fascinating as the French Revolution, the Holocaust, the reception of French thought in the Anglo-American world, the events of May 1968, the Gulf War, academic travelers as intellectual tourists, the collapse of communism, and his own work in the context o others'.

    In responding to the false charges of Buddhists’ indifference to the world and rejection of reality, Norbu clarifies the Buddhist doctrines of detachment and enlightenment. In addition, he covers the topics of good and evil, human nature, karma, cosmology, and dualistic mind, bringing them into conversation with the Christian perspective as presented by the Pope. Norbu’s approach is not to shoot back arrows in attack of Catholicism but to spread “welcoming flowers”—that is, to present the exalted teachings of the Buddha in all their loveliness. In this sense, the book serves as a helpful introduction to the Buddhist worldview.

    Reviewing hate speech regulations, anti-pornography arguments, and recent controversies about gay self-declaration in the military, Judith Butler asks whether and how language acts in each of these cultural sites. Excitable Speech examines the issue of the threatening action of words. The book suggests that although language is a kind of performance which has the power to produce political effects and injuries, it is best understood as a scene of injury rather than its cause. Rather, Butler warns us against a "sovereign" view of language, in which the words we speak are construed as unequivocal forms of conduct. She shows that the repetition of injurious language can be the occasion of its redefinition. Butler illuminates the efficacy of injurious language, covering speech act therapy in both philosophical and literary traditions, Supreme Court cases, hate speech and pornography critics, and recent bans on gay speech in the military.

    Sumathi Ramaswamy suggests that these discourses cannot be contained within a singular metanarrative of linguistic nationalism and instead proposes a new analytic, "language devotion." She uses this concept to track the many ways in which Tamil was imagined by its speakers and connects these multiple imaginings to their experience of colonial and post-colonial modernity. Focusing in particular on the transformation of the language into a goddess, mother, and maiden, Ramaswamy explores the pious, filial, and erotic aspects of Tamil devotion. She considers why, as its speakers sought political and social empowerment, metaphors of motherhood eventually came to dominate representations of the language.

    In the past, interracial texts have been read more for a black-white contrast of either-or than for an interracial realm of neither, nor, both, and in-between. Intermarriage prohibitions have been legislated throughout the modern period and were still in the law books in the 1980s. Stories of black-white sexual and family relations have thus run against powerful social taboos. Yet much interracial literature has been written, and this book suggests its pervasiveness and offers new comparative and historical contexts for understanding it.Looking at authors from Heliodorus, John Stedman, Buffon, Thomas Jefferson, Heinrich von Kleist, Victor Hugo, Aleksandr Sergeevic Puskin, and Hans Christian Andersen, to Lydia Marie Child, Harriet Beecher Stowe, William Wells Brown, Mark Twain, Charles Chesnutt, Kate Chopin, Cirilo Villaverde, Aluisio Azevedo, and Pauline Hopkins, and on to modern writers such as Langston Hughes, Jessie Fauset, Boris Vian, and William Faulkner, Sollors ranges across time, space, and cultures, analyzing scientific and legal works as well as poetry, fiction, and the visual arts, to explore the many themes and motifs interwoven throughout interracial literature. From the etymological origins of the term race to the cultural sources of the Tragic Mulatto, Sollors examines the recurrent images and ideas in this literature of love, family, and other relations between blacks, whites, and those of mixed race.Sollors' interdisciplinary explorations of literary themes yield many insights into the history and politics of race, and illuminate a new understanding of the relations between cultures through the focus on interracial exchanges. Neither Black Nor White Yet Both is vital reading for anyone who seeks to understand what has been written and said about race, and where interracial relations can go from here.

    Katie Trumpener recovers and recontextualizes a vast body of fiction to describe the history of the novel during a period of formal experimentation and political engagement, between its eighteenth-century "rise" and its Victorian "heyday."During the late eighteenth century, antiquaries in Ireland, Scotland, and Wales answered modernization and anglicization initiatives with nationalist arguments for cultural preservation. Responding in particular to Enlightenment dismissals of Gaelic oral traditions, they reconceived national and literary history under the sign of the bard. Their pathbreaking models of national and literary history, their new way of reading national landscapes, and their debates about tradition and cultural transmission shaped a succession of new novelistic genres, from Gothic and sentimental fiction to the national tale and the historical novel. In Ireland and Scotland, these genres were used to mount nationalist arguments for cultural specificity and against "internal colonization." Yet once exported throughout the nascent British empire, they also formed the basis of the first colonial fiction of Canada, Australia, and British India, used not only to attack imperialism but to justify the imperial project. Literary forms intended to shore up national memory paradoxically become the means of buttressing imperial ideology and enforcing imperial amnesia.

    Baker vividly chronicles the experience of seeing his first screenplay produced, derived from a diary kept during two years of down-and-dirty filmmaking with Bruce McDonald on the film "Hard Core Logo". "This is the most absorbing account of getting a move made in this country...It's funny, perceptive, and compelling".--Atom Egoyan.

    In this multifarious underground, Pynchonesque misfits rant and rave, fans eulogize, hobbyists obsess. Together they form a low-tech publishing network of extraordinary richness and variety. Welcome to the realm of zines.In this, the first comprehensive study of zine publishing, Stephen Duncombe describes their origins in early-twentieth-century science fiction cults, their more proximate roots in 60s counter-culture and their rapid proliferation in the wake of punk rock. While Notes from Underground pays full due to the political importance of zines as a vital web of popular culture, it also notes the shortcomings of their utopian and escapist outlook in achieving fundamental social change. Duncombe’s book raises the larger questionof whether it is possible to rebel culturally within a consumer society that eats up cultural rebellion.Packed with extracts and illustrations from a wide array of publications, past and present, Notes from Underground is the first book to explore the full range of zine culture and provides a definitive portrait of the contemporary underground in all its splendor and misery.

    Behind the scenes were legal manueverings and political ramifications: presidential aspirations in an election year; the South's slave-based economy; and international affairs. The ordeal of the Africans, however, penetrated the American consciousness of the race question as never before. It brought before the public this defining issue: Can one person be the property of another?Karen Zeinert looks carefully at the complexities of the Amistad story and puts it firmly in the context of its times. A former teacher, Zeinert has written many books on history, several of them for Linnet.

    This comprehensive introduction to the topic includes:    •  Historical roots and influences from China and India as well as the Buddhist Kalachakra teachings and the ancient Bön religion of Tibet    •  The two main branches of Tibetan astrology: Nagtsi, or "black astrology," based on the Chinese system, and Kartsi, or "white astrology," derived from Indian astrology    •  The twelve- and sixty-year cycles and the twelve animals and five elements associated with them    •  The mewa, or magical squares, which are numerological factors used to calculate the auspiciousness of days or years    •  The parkha, or eight trigrams of the I Ching, representing the elements, directions, seasons, and fundamental universal forces    •  How to analyze the character of hours, days, months, and years, so as to determine auspicious times for various activities    •  How to cast and interpret a Tibetan horoscope Also included are numerous diagrams and charts that are indispensable to the practice of Tibetan astrology, including tables for converting Western dates to dates on the Tibetan calendar.

    Indeed, photography has become the family's primary means of self-representation. In this book Marianne Hirsch uncovers both the deception and the power behind this visual record.

    Drawing on primary sources such as club minutes, census records, and dozens of interviews, she explores the experience of late 19th- and early 20th-century immigrants--mostly Christian peasants from Lebanon and Syria--and their American-born daughters. Later, she moves on to the well-assimilated granddaughters (many of whom have reidentified with the Arab community and begun to fight its political battles). The work concludes with those women--most of them Muslim--who have emigrated over the last quarter century from many Arab countries, particularly Palestinians.While attempting to correct stereotypes that picture Arab women as passive, mindless, and downtrodden, Shakir gives voice to women caught in a tug of war, usually waged within the family, between traditional values and the social and sexual liberties permitted women in the West. Complicating that battle has been the American suspicion of Arab peoples, which has sometimes pushed women--as guardians of a culture under attack--to resist the blandishments of American society. However, the sense of embattlement has sometimes had the opposite outcome, legitimizing women's activities in the public and political realm. Leavened with personal reminiscences by the author, this book introduces a gallery of spirited women, speaking candidly about their differing backgrounds, values, and aspirations. Essential for all scholars and students of America's social and religious diversity.

    It claims that the most culturally significant type in British culture is the alienated suburban dandy, nowadays the kid who feels odd, hates his comfortable, dull surroundings and yearns for the bright lights of the big cities.

    Sinners in the Hands of an Angry Church is about attitude, about living out our convictions in a Christ-like manner instead of bullying our way into the system like any other loud and selfish government lobby. Merrill shows why returning to the "good old days" is a wish based on a myth. He reveals how God has worked mightily throughout history in spite of decadent cultures, and how he can and will work today in the American culture. Far from a prescription for apathy, this book is a passionate call to Kingdom activity -- and our mission as ambassadors to a world Christ died for, not as conquerors who would remake it in our own image.

    Peterson captures the free-wheeling entrepreneurial spirit of the era, detailing the activities of the key promoters who sculpted the emerging country music scene. More than just a history of the music and its performers, this book is the first to explore what it means to be authentic within popular culture."[Peterson] restores to the music a sense of fun and diversity and possibility that more naive fans (and performers) miss. Like Buck Owens, Peterson knows there is no greater adventure or challenge than to 'act naturally.'"—Ken Emerson, Los Angeles Times Book Review"A triumphal history and theory of the country music industry between 1920 and 1953."—Robert Crowley, International Journal of Comparative Sociology"One of the most important books ever written about a popular music form."—Timothy White, Billboard Magazine

    It continues the comparative discussions by focusing upon three concepts--self, truth, transcendence--which best illuminate the distinctive characters of the two cultures. "Self" specifies the meaning of the human subject, "truth" considers that subject's manner of relating to the world of which it is a part, and "transcendence" raises the issue as to whether the self/world relationship is grounded in something other than the elements resourced immediately in self and world. Considered together, the discussions of these concepts advertise in a most dramatic fashion the intellectual barriers currently existing between Chinese and Western thinkers. More importantly, these discussions reformulate Chinese and Western vocabularies in a manner that will enhance the possibilities of intercultural communication.

    It provides a historical context for the recent resurgence of racial division by tracing the path of the color line as it appears in the narrative writings of African-Americans in the nineteenth and twentieth centuries. In readings of slave narratives, "passing novels," and the writings of Charles Chesnutt and Zora Neale Hurston, the author asks: What is the work of division? How does division work?The history of the color line in the United States is coeval with that of the nation. The author suggests that throughout this history, the color line has not functioned simply to name biological or cultural difference, but more important, it has served as a principle of division, classification, and order. In this way, the color line marks the inseparability of knowledge and power in a racially demarcated society. The author shows how, from the time of slavery to today, the color line has figured as the locus of such central tenets of American political life as citizenship, subjectivity, community, law, freedom, and justice.This book seeks not only to understand, but also to bring critical pressure on the interpretations, practices, and assumptions that correspond to and buttress representations of racial difference. The work of dislocating the color line lies in uncovering the uncertainty, the incoherency, and the discontinuity that the common sense of the color line masks, while at the same time elucidating the pressures that transform the contingent relations of the color line into common sense.

    Editors Aaron Baker and Todd Boyd contend that the popularity of sports derives not simply from their appeal as leisure entertainment but from their contribution to discussion of larger issues of class, race, gender, and masculinity. Essays in the collection challenge media wisdom about the apolitical nature of sports by examining how they contribute to the contested process of defining social identities. Included within a broad range of works are "'Never Trust a Snake' WWF Wrestling as Masculine Melodrama," (Henry Jenkins), "Mike Tyson and the Perils of Discursive Constraints: Boxing, Race and The Assumption of Guilt" (John Sloop), and "Visible Difference and Flex Appeal: The Body, Sex, Sexuality, and Race in the Pumping Iron Films" (Christine Holmlund).

    Between the Sheets, In the Streets considers these videos and films, testifying to the unavoidable connections between sexuality (the sheets) and activism (the streets) for all who identify as gay, lesbian, or queer in the 1990s.Among the topics discussed are representations of young queers on such shows as MTV's The Real World; pre-Stonewall films; portrayals of lesbians and aging; video activism in Oregon and the South; and the works of Derek Jarman, Su Friedrich, Cheryl Dunye, and Sadie Benning. A range of films and videos is examined, including Strangers in Good Company, Paris Is Burning, Juggling Gender, Silverlake Life, and Without You I'm Nothing.

    Film theorist D. N. Rodowick fills this gap by presenting the first comprehensive study, in any language, of Deleuze’s work on film and images. Placing Deleuze’s two books on cinema—The Movement-Image and The Time-Image—in the context of French cultural theory of the 1960s and 1970s, Rodowick examines the logic of Deleuze’s theories and the relationship of these theories to his influential philosophy of difference.Rodowick illuminates the connections between Deleuze’s writings on visual and scientific texts and describes the formal logic of his theory of images and signs. Revealing how Deleuzian views on film speak to the broader network of philosophical problems addressed in Deleuze’s other books—including his influential work with Félix Guattari—Rodowick shows not only how Deleuze modifies the dominant traditions of film theory, but also how the study of cinema is central to the project of modern philosophy.

    Opposed to these conceptions, The Revolution Wasn't Televised explores the ways in which prime-time television was centrally involved in the social conflicts of the 1960s. It was then that television became a ubiquitous element in American homes. The contributors in this volume argue that due to TV's constant presence in everyday life, it became the object of intense debates over childraising, education, racism, gender, technology, politics, violence, and Vietnam. These essays explore the minutia of TV in relation to the macro-structure of sixties politics and society, attempting to understand the struggles that took place over representation the nation's most popular communications media during the 1960s.

    Green's comprehensive analysis highlights the effects that factors such as class background, marital status, educational level, and attitudes about race and gender roles had in inspiring the region's women to work in favor of, or in opposition to, their own enfranchisement. Green sketches the ranks of both movements--which included women and men, black and white--and identifies the ways in which issues of class, race, and gender determined the composition of each side. Coming from a wide array of beliefs and backgrounds, Green argues, southern women approached enfranchisement with an equally varied set of strategies and ideologies. Each camp defined and redefined itself in opposition to the other. But neither was entirely homogeneous: issues such as states' rights and the enfranchisement of black women were so divisive as to give rise to competing organizations within each group. By focusing on the grassroots constituency of each side, Green provides insight into the whole of the suffrage debate.

    According to Dr. Jack Shaheen, unawareness of the lives of Arab peoples in particular becomes apparent through the study of the use of mass media in American culture. How does the American media portray the Arab countries and the Muslim faith? Furthermore, how do the American people react to such a depiction? Are there any solutions to the obstacles created? Such questions are thoroughly examined and discussed in Shaheen's booklet, "Arab and Muslim Stereotyping in American Popular Culture."

    Postcolonial African Philosophy: A Critical Reader sets out a timely and powerful agenda for contemporary African, Afro-Caribbean, and African American philosophy.

    Honor Thy Children chronicles the creation, devastation, and remarkable resurrections of the Nakatanis, a family that journeys from unimaginable grief to healing.

    From whippings, lynchings, and episodes of police brutality to slave rebellions, race riots, and other forms of retaliatory action, black writers have documented the effects of racial violence on the African American community.Victims and Heroes is the first book to focus exclusively on this topic. Discussing eighty-three novels by sixty-four writers, Jerry H. Bryant proceeds chronologically from the antebellum novels of William Wells Brown and Martin Delany to the contemporary fiction of John Edgar Wideman and Toni Morrison. He explores how changes in the social and political climate have helped to shape various authors' attitudes toward violence, and he charts the profound moral issues that these writers have faced.Although the viciousness of white violence against blacks would seem to make heroes of those who retaliate in kind, many writers have viewed such actions with ambivalence. If violence is wrong when whites visit it upon blacks, some would argue it cannot be right for blacks to use it against whites, no matter what the provocation. Yet others would respond that to reject retaliation and self-defense is to surrender self-respect. This is the moral quandary at the heart of Victims and Heroes.

    Theall explores the interrelationships between the machinic and the processes of encoding, decoding, reading, writing, and interpreting in Joyce's self-reflexive treatment of the book in Finnegans Wake. By situating this project in relation to memory and cultural production, Theall argues that Joyce's radical paramodern poetic practice has important implications for a wide variety of subsequent cultural and theoretical movements: dramatism, poststructuralism, semiology, and hypertextuality. Theall places Joyce in the context of other modern thinkers, such as Benjamin and Bataille, and draws a direct line of influence from Joyce to Marshall McLuhan and Neuromancer author William Gibson.This is a remarkable and innovative work that makes an important contribution not only to Joycean studies, but to literary theory, modernism, cultural analysis, the history of ideas, and the relationship between literature, science, and technology.

    It is written in the first person in the form of a lament, a compelling way to relate this history to children.

    Featuring original work from noted Irish-American personalities, including Pete Hamill, Mary Higgins Clark, Malachy McCourt, and Maeve Binchy, it paints a vivid picture of the Irish-American experience of the past 150 years in selections whose themes are taken from the most important institutions of Irish life.

    archives, Deborah Poole explores the role visual images and technologies have played in shaping modern understandings of race. Vision, Race, and Modernity traces the subtle shifts that occurred in European and South American depictions of Andean Indians from the late eighteenth to the early twentieth centuries, and explains how these shifts led to the modern concept of racial difference. While Andean peoples were always thought of as different by their European describers, it was not until the early nineteenth century that European artists and scientists became interested in developing a unique visual and typological language for describing their physical features. Poole suggests that this scientific or biological discourse of race cannot be understood outside a modern visual economy. Although the book specifically documents the depictions of Andean peoples, Poole's findings apply to the entire colonized world of the nineteenth century.Poole presents a wide range of images from operas, scientific expeditions, nationalist projects, and picturesque artists that both effectively elucidate her argument and contribute to an impressive history of photography. Vision, Race, and Modernity is a fascinating attempt to study the changing terrain of racial theory as part of a broader reorganization of vision in European society and culture.