It has been stifled by this myopic focus on the present, which is short-sighted and assimilationist.Cruising Utopia seeks to break the present stagnancy by cruising ahead. Drawing on the work of Ernst Bloch, José Esteban Muñoz recalls the queer past for guidance in presaging its future. He considers the work of seminal artists and writers such as Andy Warhol, LeRoi Jones, Frank O'Hara, Ray Johnson, Fred Herko, Samuel Delany, and Elizabeth Bishop, alongside contemporary performance and visual artists like Dynasty Handbag, My Barbarian, Luke Dowd, Tony Just, and Kevin McCarty in order to decipher the anticipatory illumination of art and its uncanny ability to open windows to the future.In a startling repudiation of what the LGBT movement has held dear, Muñoz contends that queerness is instead a futurity bound phenomenon, a "not yet here" that critically engages pragmatic presentism. Part manifesto, part love-letter to the past and the future, Cruising Utopia argues that the here and now are not enough and issues an urgent call for the revivification of the queer political imagination.

    For some time, the two were the only Western eyewitnesses in Gaza. This book is an account of their experience during sixteen harrowing days from 27 December 2008 to 12 January 2009. Each chapter covers just one day, as the reader follows the doctors' journey through the ravaged city, treating local Palestinians and hearing their stories. Hailed by the influential Norwegian Newspaper Klassekampen as the 'best book of 2009,' Mads Gilbert's and Erik Fosse's shocking, yet sober account sheds much-needed light on this recent chapter of one of the most prolonged and complex conflicts of our time. Eyes In Gaza is translated from the Norwegian.

    Philip Jenkins has chronicled how the next Christendom has shifted away from the Western church toward the global South and East. Likewise, changing demographics mean that North American society will accelerate its diversity in terms of race, ethnicity and culture. But evangelicalism has long been held captive by its predominantly white cultural identity and history. In this book professor and pastor Soong-Chan Rah calls the North American church to escape its captivity to Western cultural trappings and to embrace a new evangelicalism that is diverse and multiethnic. Rah brings keen analysis to the limitations of American Christianity and shows how captivity to Western individualism and materialism has played itself out in megachurches and emergent churches alike. Many white churches are in crisis and ill-equipped to minister to new cultural realities, but immigrant, ethnic and multiethnic churches are succeeding and flourishing. This prophetic report casts a vision for a dynamic evangelicalism that fully embodies the cultural realities of the twenty-first century. Spiritual renewal is happening within the North American church, from corners and margins not always noticed by those in the center. Come, discover the vitality of the next evangelicalism.

    The introduction to the book is a 30-page analysis of the general themes presented in the stories.

    James Tooley found one hiding in plain sight. While researching private schools in India for the World Bank, and worried he was doing little to help the poor, Tooley wandered into the slums of Hyderabad's Old City. Shocked to find it overflowing with tiny, parentfunded schools filled with energized students, he set out to discover if schools like these could help achieve universal education. Named after Mahatma Gandhi's phrase for the schools of pre-colonial India, The Beautiful Tree recounts Tooley's journey from the largest shanty town in Africa to the hinterlands of Gansu, China. It introduces readers to the families and teachers who taught him that the poor are not waiting for educational handouts. They are building their own schools and educating themselves.

    Peter Millar was in the middle of it, literally: caught in Checkpoint Charlie between bemused East German border guards and drunk western revellers prematurely celebrating the end of an era. For over a decade Millar had been living not just in East Berlin but also Warsaw and Moscow. In this engaging, garrulous, bibulous memoir we follow him on a journey into the heart of Cold War Europe. From the hitchhiking trip that helped him discover a secret path into a career in journalism, through the carousing bars of Fleet Street in the seventies, to the East Berlin corner pub with its eclectic cast of customers who taught him the truth about living on the wrong side of the Wall. We relive the night it all disintegrated, gain insight into the domino effect that swept through Eastern Europe in its aftermath and find out how the author felt as he opened the Stasi files and discovered which of his friends had - or had not - been spying on him.

    And we have seen the movies--their obvious lack of large leading actors silently speaking volumes. From the government, health industry, diet industry, news media, and popular culture we hear that we should all be focused on our weight. But is this national obsession with weight and thinness good for us? Or is it just another form of prejudice--one with especially dire consequences for many already disenfranchised groups?For decades a growing cadre of scholars has been examining the role of body weight in society, critiquing the underlying assumptions, prejudices, and effects of how people perceive and relate to fatness. This burgeoning movement, known as fat studies, includes scholars from every field, as well as activists, artists, and intellectuals. The Fat Studies Reader is a milestone achievement, bringing together fifty-three diverse voices to explore a wide range of topics related to body weight. From the historical construction of fatness to public health policy, from job discrimination to social class disparities, from chick-lit to airline seats, this collection covers it all.Edited by two leaders in the field, The Fat Studies Reader is an invaluable resource that provides a historical overview of fat studies, an in-depth examination of the movement's fundamental concerns, and an up-to-date look at its innovative research.

    Offering an unflinching account of race and representation, Frank B. Wilderson III asks whether such films accurately represent the structure of U.S. racial antagonisms. That structure, he argues, is based on three essential subject positions: that of the White (the “settler,” “master,” and “human”), the Red (the “savage” and “half-human”), and the Black (the “slave” and “non-human”). Wilderson contends that for Blacks, slavery is ontological, an inseparable element of their being. From the beginning of the European slave trade until now, Blacks have had symbolic value as fungible flesh, as the non-human (or anti-human) against which Whites have defined themselves as human. Just as slavery is the existential basis of the Black subject position, genocide is essential to the ontology of the Indian. Both positions are foundational to the existence of (White) humanity.Wilderson provides detailed readings of two films by Black directors, Antwone Fisher (Denzel Washington) and Bush Mama (Haile Gerima); one by an Indian director, Skins (Chris Eyre); and one by a White director, Monster’s Ball (Marc Foster). These films present Red and Black people beleaguered by problems such as homelessness and the repercussions of incarceration. They portray social turmoil in terms of conflict, as problems that can be solved (at least theoretically, if not in the given narratives). Wilderson maintains that at the narrative level, they fail to recognize that the turmoil is based not in conflict, but in fundamentally irreconcilable racial antagonisms. Yet, as he explains, those antagonisms are unintentionally disclosed in the films’ non-narrative strategies, in decisions regarding matters such as lighting, camera angles, and sound.

    This infinity of lists is no coincidence: a culture prefers enclosed, stable forms when it is sure of its own identity, while when faced with a jumbled series of ill-defined phenomena, it starts making lists. The poetics of lists runs throughout the history of art and literature. We do not only see it at work in ancient bestiaries, the celestial hosts of angels or the naturalist collections of the 16th century. We also find it more obliquely from Homer to Joyce, from the treasures of Gothic cathedrals to the fantastic landscapes of Bosch and cabinets of curiosities, until we get to Andy Warhol and Arman in the 20th century. In this 5-colour illustrated edition, Umberto Eco reflects on how the idea of catalogues has changed over the centuries and how, from one period to another, it has expressed the spirit of the times. His essay is accompanied by a literary anthology and a wide selection of works of art illustrating and analysing the texts presented. This new illustrated essay is a companion volume to On Beauty and On Ugliness.

    With an immediacy made possible by a twenty-seven-year career, Schwartz immerses the reader in the troubling and complex realities of U.S. jails, the monster factories -- places that foster violence, rage and, ultimately, better criminals. But by working in the monster factories, Schwartz also discovered her dream of a criminal justice system that empowers victims and reforms criminals. Charismatic and deeply compassionate, Sunny Schwartz grew up on Chicago's south side in the 1960s. She fought with her family, struggled through school and floundered as she tried to make something of herself. Bucking expectations of failure, she applied to a law school that didn't require a college degree, passed the bar and began her life's work in the criminal justice system. Eventually she grew disheartened by the broken, inflexible system, but instead of quitting, she reinvented it, making jail a place that could change people for the better. In 1997, Sunny launched the Resolve to Stop the Violence Project (RSVP), a groundbreaking program for the San Francisco Sheriff 's Department. RSVP, which has cut recidivism for violent rearrests by up to 80 percent, brings together victims and offenders in a unique correctional program that empowers victims and requires offenders to take true responsibility for their actions and eliminate their violent behavior. Sunny Schwartz's faith in humanity, her compassion and her vision are inspiring. In Dreams from the Monster Factory she goes beyond statistics and sensational portrayals of prison life to offer an intimate, harrowing and revelatory chronicle of crime, punishment and, ultimately, redemption.

    They are today artists, philosophers, and farmers who reside deep in the mountains of rural Japan. Their lives may be simple, yet they are surrounded by the luxuries of nature, art, contemplation, delicious food, and an abundance of time. For example:Atsuko Watanabe is an environmentalist and home-schooler who explores Christian mysticism while raising her two daughters in an old farmhouse Akira Ito is an ex–petroleum engineer who has become a painter and children’s book illustrator and explores the role of chi (life energy) in the universe through art and music Kogan Murata grows rice and crafts elegant bamboo flutes that he plays for alms in the surrounding villages Jinko Kaneko is a fine artist and fabric dyer who runs a Himalayan-style curry restaurant in the Japan Alps By presenting the journeys of these ordinary—yet exceptional—people, Andy Couturier shows how we too can travel a meaningful path of living simply, with respect for our communities and our natural resources. When we leave behind the tremendous burdens of wage labor, debt, stress, and daily busyness, we grow rich in a whole new way. These Japanese are pioneers in a sense; drawing on traditional Eastern spiritual wisdom, they have forged a new style of modernity, and in their success is a lesson for us all: live a life that matters.Andy Couturier is an essayist, poet, and writing teacher. He lived in Japan for four years where he taught, was a journalist, and worked on environmental causes. He lives in the San Francisco Bay Area.

    But “normal” has never been Cathy’s forte, and leaving Niagara Falls and Catholic school behind does nothing to quell her spirited nature. As the 1960s dramatically unfold, Cathy takes on many personas — cheerleader, vandal, HoJo hostess, civil rights demonstrator — with the same gusto she exhibited as a child working split shifts in her father’s pharmacy. But when tragedy strikes, it is her role as daughter that proves to be most challenging.

    He traveled on foot to Lebanon and returned a year later to find his village destroyed. An autodidact, he has since run a souvenir shop in Nazareth, at the same time evolving into what National Book Critics Circle Award–winner Eliot Weinberger has dubbed “perhaps the most accessible and delightful poet alive today.”As it places Muhammad Ali’s life in the context of the lives of his predecessors and peers, My Happiness offers a sweeping depiction of a charged and fateful epoch. It is a work that Arabic scholar Michael Sells describes as “among the five ‘must read’ books on the Israel-Palestine tragedy.” In an era when talk of the “Clash of Civilizations” dominates, this biography offers something else entirely: a view of the people and culture of the Middle East that is rich, nuanced, and, above all else, deeply human.

    Jones sharply criticized black theologians for their agnostic approach to black suffering, noting that the doctrine of an ominibenevolent God poses very significant problems for a perennially oppressed community. He proposed ahumanocentric theism which denies God's sovereignty over human history and imputes autonomous agency to humans. By rendering humans alone responsible for moral evil, Jones's theology freed blacks to revolt against the evil of oppression without revolting against God. Sherman Jackson now placesJones's argument in conversation with the classical schools of Islamic theology. The problem confronting the black community is not simply proving that God exists, says Jackson. The problem, rather, is establishing that God cares. No religious expression that fails to tackle the problem of blacksuffering can hope to enjoy a durable tenure in the black community. For the Muslim, therefore, it is essential to find a Quranic/Islamic grounding for the protest-oriented agenda of black religion. That is the task Jackson undertakes in this pathbreaking work. Jackson's previous book, Islam and theBlackamerican (OUP 2006) laid the groundwork for this ambitious project. Its sequel, Islam and the Problem of Black Suffering, solidifies Jackson's reputation as the foremost theologian of the black American Islamic movement.

    Sahara is the story of Paula's struggle to overcome her innermost demons and take control of her journey, her camels, and the men she hires to guide her through one of planet's most extreme regions. Illness, landmines, and political red tape stand between Paula and the realization of a life's dream. Though the wheels have fallen off her marriage on the course of her journey and her funds are quickly drying up, she is determined to complete the walk through the romantic Big Empty of Northern Africa to Cairo. Both a thrilling adventure and a story of joy, heartache, inspiration, and despair, Sahara is—above all—a celebration of the greatness of human spirit in all its guises.

    More people, proportionately, went from Scotland than any other country, and the entire nation was gripped by the conflict. What drove so many ordinary Scots to volunreer in a foreign war?Their stories are powerfully and honestly told, often in their own words: the ordinary men and women who made their way to Spain over the Pyrenees when the UK government banned anyone from going to support either side; the nuses and ambulance personnel who discovered for themselves the horrors of modern warfare; and the people back home who defied their poverty to give generously to the Spanish republican cause.Even in war there are light-hearted moments: a Scottish volunteer drunkenly urinating in his general's boots, enduring the dark comedy of learning to shoot with sticks amidst a scarcity of rifles, or enjoying the surreal experience of raising a dram with Errol Flynn. They went from all over the country: Glasgow, Edinburgh. Aberdeen, Dundee, Fife and the Highlands, and they fought to save Scotland, and the world, from the growing threat of fascism.'Daniel Gray has done a marvellous job in bringing together the stories of Scots volunteers - in [this] many-voiced, multi-layered book' SCOTLAND ON SUNDAY'...moving and thought-provoking.' THE HERALD'A new and fascinating contribution' SCOTTISH REVIEW OF BOOKS'Book of the week - Gray deserves applause for shining a light on a lesser-known aspect of the nation's character of which we should all be proud. 'PRESS & JOURNAL

    This gripping biography draws out all the comedy from Wheatley's history, from his childhood in a family of wine merchants who were dedicated to social climbing (the scrambling for status never left Wheatley either, even in his 70's he was proudly joining gentlemen's clubs such as White's) to his experiences in World War One. Wheatley's main ambition as a soldier was to join a socially acceptable regiment, but the Westminster Dragoons wouldn't have him because he couldn't ride (he claimed that he could but his first time on a horse rather exposed this lie), he was too short for the Artist's Rifles and so he ended up in the Artillery. He spent most of the War attending training camps and hunting for casual sex (and writing his first, unpublished, novel), before being sent to the Western Front in 1917. A business disaster, along with the Depression, led him to turn his attention to writing novels as a means of escaping penury (an unconventional idea for becoming rich) and after selling 50 million books he succeeded. Wheatley lived on a grand scale, rather like a real-life bon vivant James Bond, of fine dining, expensive wines and even more expensive cigars. Phil Baker captures Wheatley's personality, as well as the lurid extremes of his novels (their occult settings, the constant promise of orgies and threats to virgins). For such a detailed book The Devil is a Gentleman is astonishingly readable, as page-turning as Wheatley's own novels. James Doyle in Book Munch

    Politics. Literary Criticism. WHAT ARE INTELLECTUALS GOOD FOR? appraises a large gallery of twentieth-century intellectuals, including Randolph Bourne, Dwight Macdonald, Lionel Trilling, Irving Howe, Isaiah Berlin, William F. Buckley Jr., Allan Bloom, Richard Rorty, Stanley Fish, Christopher Lasch, Edward Said, Ellen Willis, and Christopher Hitchens. It also includes two essays on intellectuals and politics and concludes with one on moral consequences of our species cyber-evolution. George Scialabba, a columnist for the Boston Globe and contributor to the Boston Review, Dissent, the American Prospect, and the Nation, is admired by a circle of discerning readers. WHAT ARE INTELLECTUALS GOOD FOR?, his second essay collection, brings his voice to a larger audience. Scott McLemee, the Intellectual Affairs columnist of InsideHigherEd, has contributed a foreword.

    Focusing on the late nineteenth century and the early twentieth, Miller chronicles how southern music—a fluid complex of sounds and styles in practice—was reduced to a series of distinct genres linked to particular racial and ethnic identities. The blues were African American. Rural white southerners played country music. By the 1920s, these depictions were touted in folk song collections and the catalogs of “race” and “hillbilly” records produced by the phonograph industry. Such links among race, region, and music were new. Black and white artists alike had played not only blues, ballads, ragtime, and string band music, but also nationally popular sentimental ballads, minstrel songs, Tin Pan Alley tunes, and Broadway hits. In a cultural history filled with musicians, listeners, scholars, and business people, Miller describes how folklore studies and the music industry helped to create a “musical color line,” a cultural parallel to the physical color line that came to define the Jim Crow South. Segregated sound emerged slowly through the interactions of southern and northern musicians, record companies that sought to penetrate new markets across the South and the globe, and academic folklorists who attempted to tap southern music for evidence about the history of human civilization. Contending that people’s musical worlds were defined less by who they were than by the music that they heard, Miller challenges assumptions about the relation of race, music, and the market.

    We scholars of the Hogwarts Saga (Harry Potter s triumph over the Dark Lord) have come together here to share our researches on the meaning of Harry s seven adventures. Listen attentively to discover hidden secrets of the series and learn why the books are worthy to be studied more closely! Sip that fire whiskey slowly. Sit back and enjoy the ten best Hog s Head conversations of the past year, edited into this handy collection. And don t forget to throw your peanut shells to the goat in the corner. [includes essays by John Granger, Colin Manlove, Amy H. Sturgis, James W. Thomas and many others].

    Blending traditional forms with content in unexpected ways, these are poems that show a tough exterior as well as the vulnerability beneath the front, that feed off their apparent hypocrisy while casting it in the lead role. Ultimately, they are poems that build truths by amassing contradictions, whipping us along on engaging rhythmic journeys that often wind up surprisingly back where they began."

    The postwar economic boom launched a generation of charming, cheeky, and relentlessly cheerful critters and characters that found their way into our homes--and our hearts--in print, on television, and on packaging. Some took detours that reflected the times (Elsie the Cow was sent into outer space in 1958). Some were fashion victims who survived (remember hippy Hush Puppies, circa 1969?). And some are no longer with us (the Frito Bandito was finally brought to justice in 1971). These endearingly offbeat characters are as fresh and entertaining today as they were creatively inspired in decades past.

    Confronted with a hostile colonial government and Native Americans wary of conversion, the newly-appointed bishop-elect of Mexico wrote to tell the King of Spain that, unless there was a miracle, the continent would be lost. Between December 9 and December 12, 1531, that miracle happened, and it forever changed the future of the continent.It was then that the Virgin Mary famously appeared to a Native American Christian convert on a hilltop outside of what is now Mexico City. The image she left imprinted on his cloak or tilma has puzzled scientists for centuries, and yet Our Lady of Gudalupe’s place in history is profound. A continent that just months before the apparitions seemed completely lost to Christianity suddenly and inexplicably embraced it by the millions. Our Lady of Guadalupe's message of love replaced the institutionalized violence of the Aztec culture, and built a bridge between two worlds — the old and the new — that were just ten years earlier engaged in brutal warfare.Today, Our Lady of Guadalupe continues to inspire the devotion of millions.From Canada to Argentina — and even beyond the Americas — one finds great devotion to her, and great appreciation for her message of love, unity and hope. Today reproductions of the Virgin’s miraculous image can be seen throughout North and South America, in churches and homes, on billboards and even clothing apparel. Her shrine in Mexico City, where the miraculous image is housed to this day, is one of the most visited in the world.In Our Lady of Guadalupe: Mother of the Civilization of Love, Anderson & Chavez trace the history of Our Lady of Guadalupe from the sixteenth century to the present discuss of how her message was and continues to be an important catalyst for religious and cultural transformation. Looking at Our Lady of Guadalupe as a model of the Church and Juan Diego as a model for all Christians who seek to answer Christ's call of conversion and witness, the authors explore the changing face of the Catholic Church in North, Central, and South America, and they show how Our Lady of Guadalupe's message was not only historically significant, but how it speaks to contemporary issues confronting the American continents and people today.

    In the first book of its kind, Garland-Thomson defines staring, explores the factors that motivate it, and considers the targets and the effects of the stare. While borrowing from psychology and biology to help explain why the impulse to stare is so powerful, she also enlarges and complicates these formulations with examples from the realm of imaginative culture. Featuring over forty illustrations, Staring captures the stimulating combination of symbolic, material and emotional factors that make staring so irresistible while endeavoring to shift the usual response to staring, shame, into an engaged self-consideration. Elegant and provocative, this unique study advances new ways of thinking about visuality and the body that will appeal to readers who are interested in the overlap between the humanities and human behaviors.

    The result is a "colonized" version of the knowledge, one that is distorted and trivialized by an ill-suited Eurocentric paradigm of scientific investigation and classification. In Our Knowledge Is Not Primitive, Wendy Makoons Geniusz contrasts the way in which Anishinaabe botanical knowledge is presented in the academic record with how it is preserved in Anishinaabe culture. In doing so she seeks to open a dialogue between the two communities to discuss methods for decolonizing existing texts and to develop innovative approaches for conducting more culturally meaningful research in the future.As an Anishinaabe who grew up in a household practicing traditional medicine and who went on to earn a doctorate and become a professional scholar, Geniusz possesses the authority of someone with a foot firmly planted in each world. Her unique ability to navigate both indigenous and scientific perspectives makes this book an invaluable contribution to the field and enriches our understanding of all native communities.

    I read and re-read, on and on until the darkness settled thick enough around me that I could no longer see the large-printed words on the gaudily illustrated pages, and then I clambered from the attic and threw myself into the story again while seated beside the fire. The wind carved elegiac plunder in the chimney and every banshee wail exploded awake a freshly forgotten colour in my mind. Children see the world in different lights, the brilliance of which is far too easily given up. This time, discovering them anew, I held fast and determined that I'd never again let go. With its stories of lost love and shared secrets, tender moments and little victories, In Too Deep is a wonderful follow-up to Billy's collection In Exile.

    Both, he finds, fall short of the "rWorld," the larger web of healthy and nourishing social relationships that provides the context for a biblical understanding of individual sexuality. This book will transform the conversation on sexuality among college students, campus ministers, church and ministry leaders, and all readers with an eye on culture and public policy.EXCERPTEven as the broader culture has deviated from the traditional understanding of sexual ethics and marriage, so have Christians. . . . Given the rapid shift in the sexual behavior of Christians, it should come as no surprise that when the church attempts to respond to the questions posed by the Sexual Revolution, it does so with mixed messages, a muted voice, and little impact. . . . The answer for the church is not to withdraw permanently from the public debate about sexual morality. Instead we need to step back, think deeply about what we believe, and rearticulate it in a better way. Most of all, we need to practice what we profess and in doing so, reengage the culture in a dialogue about the meaning of sexuality.

    Scrutinizing widely diverse texts--archival, musical, visual, and theatrical--Tavia Nyong'o traces the genealogy of racial hybridity, analyzing how key events in the nineteenth century spawned a debate about interracialism that lives on today.Deeply interested in how discussions of racial hybridity have portrayed the hybrid as the recurring hope for a distant raceless future, Nyong'o is concerned with the ways this discourse deploys the figure of the racial hybrid as an alibi for a nationalism that reinvents the racist logics it claims to have broken with. As Nyong'o demonstrates, the rise of a pervasive image of racially anomalous bodies responded to the appearance of an independent black public sphere and organized politics of black uplift. This newfound mobility was apprehended in the political imaginary as a bodily and sexual scandal, and the resultant amalgamation discourse, he argues, must be recognized as one of the earliest and most enduring national dialogues on sex and sexuality.Nyong'o tracks the emergence of the concept of the racial hybrid as an ideological modernization of the older concept of the mongrel and shows how this revision brought race-thinking in line with new understandings of sex and gender, providing a racial context for the shift toward modern heterosexuality, the discourse on which postracial metaphors so frequently rely. A timely rebuttal to our contemporary fascination with racial hybridity, The Amalgamation Waltz questions the vision of a national future without racial difference or conflict.

    In the fashion of a Wunderkammer, The Quick and the Dead takes stock of the 1960s and 70s legacy of experimental, or "research" art by pioneers like George Brecht, who posited objects as motionless events and asked us to consider "an art verging on the non-existent, dissolving into other dimensions," and Lygia Clark, whose foldable sculptures sought to dissolve the boundary between inside and outside, each "a static moment within the cosmological dynamics from which we came and to which we are going." In a series of encounters with art made strange by its expansions, contractions, inversions and implosions in time and space, The Quick and the Dead surveys more than 80 works by a global, multigenerational group of 50 artists, scientists and musicians--among them James Lee Byars, Joseph Beuys, Marcel Duchamp, Harold Edgerton, Ceal Floyer, Felix Gonzalez-Torres, Pierre Huyghe, The Institute for Figuring, Paul Ramirez Jonas, Stephen Kaltenbach, On Kawara, Christine Kozlov, David Lamelas, Louise Lawler, Paul Etienne Lincoln, Mark Manders, Kris Martin, Steve McQueen, Helen Mirra, Catherine Murphy, Bruce Nauman, Rivane Neuenschwander, Claes Oldenburg, Roman Ondak, Adrian Piper, Roman Signer and Shomei Tomatsu, among many others. Includes reprints of texts by diverse luminaries such as John McPhee, Jalal Toufic, Oliver Sacks, Allan Kaprow and Robert Smithson.

    Mixing theory and practice, the personal and the political, she tackles questions about the place of feminism in art and political discourse, the aesthetics and values of contemporary painting, and the influence of the market on the creation of art. Schor writes across disciplines and is committed to the fluid interrelationship between a formalist aesthetic, a literary sensibility, and a strongly political viewpoint. Her critical views are expressed with poetry and humor in the accessible language that has been her hallmark, and her perspective is informed by her dual practice as a painter and writer and by her experience as a teacher of art.In essays such as “The ism that dare not speak its name,” “Generation 2.5,” “Like a Veneer,” “Modest Painting,” “Blurring Richter,” and “Trite Tropes, Clichés, or the Persistence of Styles,” Schor considers how artists relate to and represent the past and how the art market influences their choices: whether or not to disavow a social movement, to explicitly compare their work to that of a canonical artist, or to take up an exhausted style. She places her writings in the rich transitory space between the near past and the “nextmodern.” Witty, brave, rigorous, and heartfelt, Schor’s essays are impassioned reflections on art, politics, and criticism.

    For more than a century, black southerners learned to live with betrayed expectations, diminishing prospects, and devastated aspirations. Their odyssey includes some of the most appalling examples of terrorism, violence, and dehumanization in the history of this nation. But, as Leon Litwack graphically demonstrates, it is at the same time an odyssey of resilience and resistance defined by day-to-day acts of protest: the fight for justice poignantly recorded in the stories, songs, images, and movements of a people trying to be heard.For black men and women, the question is: how free is free? Despite two major efforts to reconstruct race relations, injustices remain. From the height of Jim Crow to the early twenty-first century, struggles over racism persist despite court decisions and legislation. Few indignities were more pronounced than the World War II denial of basic rights and privileges to those responding to the call to make the world safe for democratic values--values that they themselves did not enjoy. And even the civil rights movement promise to redeem America was frustrated by change that was often more symbolic than real.Although a painful history to confront, Litwack's book inspires as it probes the enduring story of racial inequality and the ongoing fight for freedom in black America with power and grace.

    Due to sold-out tribute concerts across Australia and the remastering of the complete Triffids oeuvre, a new generation is discovering McComb’s work; fans old and new can delve deeper into his life and music in this intensely personal biography. Many of the featured photographs and images are previously unpublished. Works by both local and international contributors are collected in honor of the 10-year anniversary of David McComb's death, and include: Jonathan Alley, Jill Birt, Martyn Casey, David Cavanagh, Nick Cave, Claire Colebrook, Laurie Duggan, John Dyer, Robert Forster, Richard Gunning, Megan Heyward, Thomas Hoareau, Tracee Hutchison, Phil Kakulas, Steve Kilbey, John Kinsella, Graham Lee, Judith Lucy, Alsy MacDonald, Andrew McGowan, Robert McComb, Gavin Martin, Steve Miller, Denise Nestor, David Nichols, Rob Snarski, and Jon Stratton.

    The Great Urban Transformation investigates what is happening in cities, the urban edges, and the rural fringe in order to explain these relations. In the inner city of major metropolitan centers, municipal governments battle high-ranking state agencies to secure land rents from redevelopment projects, while residents mobilize to assert property and residential rights. At the urban edge, as metropolitan governments seek to extend control over their rural hinterland through massive-scale development projects, villagers strategize to profit from the encroaching property market. At the rural fringe, township leaders become brokers of power and property between the state bureaucracy and villages, while large numbers of peasants are dispossessed, dispersed, and deterritorialized, and their mobilizational capacity is consequently undermined.The Great Urban Transformation explores these issues, and provides an integrated analysis of the city and the countryside, elite politics and grassroots activism, legal-economic and socio-political issues of property rights, and the role of the state and the market in the property market.

    In The Decolonized Eye, Sarita Echavez See shows how these artists have engaged with the complex aftermath of U.S. colonialism in the Philippines.Focusing on artists working in New York and California, See examines the overlapping artistic and aesthetic practices and concerns of filmmaker Angel Shaw, painter Manuel Ocampo, installation artist Paul Pfeiffer, comedian Rex Navarrete, performance artist Nicky Paraiso, and sculptor Reanne Estrada to explain the reasons for their strangely shadowy presence in American culture and scholarship. Offering an interpretation of their creations that accounts for their queer, decolonizing strategies of camp, mimesis, and humor, See reveals the conditions of possibility that constitute this contemporary archive.By analyzing art, performance, and visual culture, The Decolonized Eye illuminates the unexpected consequences of America's amnesia over its imperial history.

    But a spirit of uneasiness, discontent, and world-weariness soon arose and has persisted in Europe, in America, and elsewhere for two decades. To discern the meaning of this malaise we must investigate the nature of liberal democracy, says the author of this provocative book, and he undertakes to do so through a detailed investigation of the thinking of Montesquieu, Rousseau, and Tocqueville.Paul A. Rahe argues that these political thinkers anticipated the modern liberal republic's propensity to drift in the direction of “soft despotism”—a condition that arises within a democracy when paternalistic state power expands and gradually undermines the spirit of self-government. Such an eventuality, feared by Tocqueville in the nineteenth century, has now become a reality throughout the European Union, Canada, Australia, New Zealand, and the United States. So Rahe asserts, and he explains what must be done to reverse this unfortunate trend.

    With the collapse of the welfare state, youth are no longer seen as a social investment but as troubling and, in some cases, disposable, especially poor minority youth. Caught between the discourses of consumerism and a powerful crime-control-complex, young people are increasingly either viewed as commodities or are subjected to the dictates of an ever expanding criminal justice system.Constructing a new analytic of youth, Giroux explores the current conditions of young people and their everyday experiences within this emerging crime complex, a politics of disposability, and the ever present market-driven forces of commercialization and commodification. Drawing upon the work of theorists such as Zygmunt Bauman, Judith Butler, Agamben, Foucault, and others as a theoretical foundation for addressing the growth of a rigid market fundamentalism and a punishing state, Giroux explores both the increasing militarization and commercialization of schools and other public spheres, and what can happen to a society in which young people are increasingly portrayed as dangerous and, hence, no longer appear to be a referent for a democratic future. But Giroux does more than examine the implications this new war on youth has for American society, he also analyses the role that educators, parents, intellectuals, and others can play in both challenging the plight of young people deepening and extending the promise of a better future and a sustainable and viable democracy.http://www.henryagiroux.com/

    Despite the historicity of clock-time itself, the modern concept of time is considered universal and culturally neutral. What Walter Benjamin called “homogeneous, empty time” founds the modern notions of progress and a uniform global present in which the past and other forms of time consciousness are seen as superseded. In Translating Time, Bliss Cua Lim argues that fantastic cinema depicts the coexistence of other modes of being alongside and within the modern present, disclosing multiple “immiscible temporalities” that strain against the modern concept of homogeneous time. In this wide-ranging study—encompassing Asian American video (On Cannibalism), ghost films from the New Cinema movements of Hong Kong and the Philippines (Rouge, Itim, Haplos), Hollywood remakes of Asian horror films (Ju-on, The Grudge, A Tale of Two Sisters) and a Filipino horror film cycle on monstrous viscera suckers (Aswang)—Lim conceptualizes the fantastic as a form of temporal translation. The fantastic translates supernatural agency in secular terms while also exposing an untranslatable remainder, thereby undermining the fantasy of a singular national time and emphasizing shifting temporalities of transnational reception.Lim interweaves scholarship on visuality with postcolonial historiography. She draws on Henri Bergson’s understanding of cinema as both implicated in homogeneous time and central to its critique, as well as on postcolonial thought linking the ideology of progress to imperialist expansion. At stake in this project are more ethical forms of understanding time that refuse to domesticate difference as anachronism. While supernaturalism is often disparaged as a vestige of primitive or superstitious thought, Lim suggests an alternative interpretation of the fantastic as a mode of resistance to the ascendancy of homogeneous time and a starting-point for more ethical temporal imaginings.

    In Those Who Work, Those Who Don't, Jennifer Sherman offers a much-needed sympathetic understanding of poor rural Americans, persuasively arguing that the growing cultural significance of moral values is a reasonable and inevitable response to economic collapse and political powerlessness.Those Who Work, Those Who Don't is based on the intimate interviews and in-depth research Sherman conducted while spending a year living in "Golden Valley," a remote logging town in Northern California. Economically devastated by the 1990 ruling that listed the northern spotted owl as a threatened species, Golden Valley proved to be a rich case study for Sherman. She looks at how the members of the community coped with downward mobility caused by the loss of timber industry jobs and examines a wide range of reactions. She shows how substance abuse, domestic violence, and gender roles fluctuated under the town's economic strain.Compellingly written, shot through with honesty and empathy, Those Who Work, Those Who Don't is a rare firsthand account that studies the rural poor. As incomes erode and the American dream becomes more and more inaccessible, Sherman reveals that moral values and practices become a way for the poor to gain status and maintain a sense of dignity in the face of economic ruin.

    

    Even as the Education Acts of 1870, 1880, and 1891 extended the privilege of print literacy to greater numbers of the populace, stitching samplers continued to be a way of acculturating girls in both print literacy and what Kortsch terms dress culture. Kortsch explores nineteenth-century women's education, sewing and needlework, mainstream fashion, alternative dress movements, working-class labor in the textile industry, and forms of social activism, showing how dual literacy in dress and print cultures linked women writers with their readers. Focusing on Victorian novels written between 1870 and 1900, Kortsch examines fiction by writers such as Olive Schreiner, Ella Hepworth Dixon, Margaret Oliphant, Sarah Grand, and Gertrude Dix, with attention to influential predecessors like Elizabeth Gaskell, Charlotte Bront�, and George Eliot. Periodicals, with their juxtaposition of journalism, fiction, and articles on dress and sewing are particularly fertile sites for exploring the close linkages between print and dress cultures. Informed by her examinations of costume collections in British and American museums, Kortsch's book broadens our view of New Woman fiction and its relationship both to dress culture and to contemporary women's fiction.

    Employing a comparative and interdisciplinary approach, the book makes a twofold argument about Holocaust memory in a global age by situating it in the unexpected context of decolonization. On the one hand, it demonstrates how the Holocaust has enabled the articulation of other histories of victimization at the same time that it has been declared "unique" among human-perpetrated horrors. On the other, it uncovers the more surprising and seldom acknowledged fact that public memory of the Holocaust emerged in part thanks to postwar events that seem at first to have little to do with it. In particular, Multidirectional Memory highlights how ongoing processes of decolonization and movements for civil rights in the Caribbean, Africa, Europe, the United States, and elsewhere unexpectedly galvanized memory of the Holocaust.Rothberg engages with both well-known and non-canonical intellectuals, writers, and filmmakers, including Hannah Arendt, Aimé Césaire, Charlotte Delbo, W.E.B. Du Bois, Marguerite Duras, Michael Haneke, Jean Rouch, and William Gardner Smith.

    The Last Quarter brings together three of his books that sum up that period. In 1970, he re-created the grand final of that year, said to be the best of the 20th century, by talking to the players, coaches and umpire.Southern Sky, Western Oval, written in 1993, portrays the events of a season set against the backdrop of a club, Footscray (now the Western Bulldogs), fighting to survive.The Game In Time of War, which starts with the first game after 9/11 and ends with the first game after the invasion of Iraq, describes an unnerving period in Australian history through the eyes of a man who distracts himself by watching football.The collection ends with an essay about the controversy that marked the AFL’s 150th year and Flanagan’s part in it, titled: Tom Wills: Confessions of a Ghost Writer.

    Their oral histories offer first-hand experiences: three days on a roof with Navy veteran Leonard Smith; at the convention center with waitress Eleanor Thornton; and with Willie Pitford, an elevator man, as he rescued 150 people in New Orleans East. Overcoming approaches the question of why New Orleans matters, from perspectives of the individuals who lived, loved, worked, and celebrated life and death there prior to being scattered across the country by Hurricane Katrina. This book's twenty-seven narrators range from Mack Slan, a conservative businessman who disparages the younger generation for not sharing his ability to make "good, rational decisions," to Kalamu ya Salaam, who was followed by the New Orleans Police Department for several years as a militant defender of Black Power in the late 1960s and '70s. These narratives are memorials to the corner stores, the Baptist churches, the community health clinics, and those streets where the aunties stood on the corner, and whose physical traces have now all been washed away. They conclude with visions of a safer, equitably rebuilt New Orleans.     *Scroll down for more audio excerpts from Overcoming Katrina*

    Here are soaring glass skyscrapers (for working people) and a humble stone barn (for working animals); a sealed tomb hewn out of a limestone hillside (for buried reasure) and a majestic marble building, honoring a goddess. As it reveals what lies inside each structure, this book gives insight into the people who designed these buildings -- into their hopes, their lives, and their concepts of beauty. Included -- for budding engineers and architects -- are statistics such as the year built, square footage, materials used, height, and other little known statistics.Structures included are: Tomb of Tutankamumn in Thebes, Egypt The Parthenon in Athens, Greece Temple of Kukulcan in Chichen Itza, Mexico Buddha's Place in Shanxi Province, China Walled city of Toldeo in Spain Alcazar Castle in Segovia, Spain Independence Hall in Philadelphia Shaker dairy barn in Hancock, MA A Circus big top tent, which traveled to many American cities The Guggenhem Museum in NYC The Sydney Opera House in Sydney, Australia The Petrona Towers in Kuala Lumpur, Malaysia The Georgia Aquarium in Georgia, Atlanta

    In a richly drawn, anecdotally driven narrative, Joe C. Truett, a grasslands ecologist who writes with a flair for language, traces the evolutionary, historical, and cultural forces that have reshaped North American rangelands over the past two centuries. He introduces an intriguing cast of characters—wildlife and grasslands biologists, archaeologists, ranchers, and petroleum geologists—to illuminate a wide range of related topics: our love affair with turf and how it manifests in lawns and sports, the ecological and economic dimensions of ranching, the glory of cowboy culture, grasslands and restoration ecology, and more. His book ultimately provides the background against which we can envision a new paradigm for restoring rangeland ecosystems—and a new paradigm for envisioning a more sustainable future.

    This anthology by former members of the Gay Liberation Front (GLF) captures the history and spirit of the revolutionary time just after Stonewall, when thousands came out of the closet to claim their sexuality, and when queer resistance coalesced into a turbulent, joyous liberation movement—one whose lasting influence would ultimately inform and profoundly shape the LGBT community of today.Personal essays explore the philosophy and culture of the stridently anti-assimilationist GLF: the actions, demonstrations, and marches; views on marriage, religion, and gender; the drugs, orgies, and communes; and GLF’s relationship to the hippies, the Black Panthers, the straight Left, the women’s movement, civil rights, and the antiwar struggle.The collection includes contributions from Martha Shelley, Cei Bell, Paola Bacchetta, Susan Stryker, Tom Ammiano, Nikos Diaman, Mark Segal, Barbara Ruth, and Perry Brass.

    These striking photographs capture “found text”: the sometimes mysterious, occasionally humorous, often cryptic presence of words in the everyday landscape. In Koch’s lyrical sequencing, the images reveal obscure and eccentric voices in their various and distinctive roles on the daily stage of the world around us. This intriguing approach at the intersection of language, image, and the social landscape will appeal to readers interested in contemporary art and photography, popular culture, and conceptual concerns both literary and visual.

    

    Both native New Yorkers and tourists have played hard in Gotham for centuries, lindy hopping in 1930s Harlem, voguing in 1980s Chelsea, and refueling at all-night diners and bars. The slim island at the mouth of the Hudson River is packed with places of leisure and entertainment, but Manhattan's infamously fast pace of change means that many of these beautifully constructed and incredibly ornate buildings have disappeared, and with them a rich and ribald history.Yet with David Freeland as a guide, it's possible to uncover skeletons of New York's lost monuments to its nightlife. With a keen eye for architectural detail, Freeland opens doors, climbs onto rooftops, and gazes down alleyways to reveal several of the remaining hidden gems of Manhattan's nineteenth- and twentieth-century entertainment industry. From the Atlantic Garden German beer hall in present-day Chinatown to the city's first motion picture studio--Union Square's American Mutoscope and Biograph Company--to the Lincoln Theater in Harlem, Freeland situates each building within its historical and social context, bringing to life an old New York that took its diversions seriously. Freeland reminds us that the buildings that serve as architectural guideposts to yesteryear's recreations cannot be re-created--once destroyed they are gone forever. With condominiums and big box stores spreading over city blocks like wildfires, more and more of the Big Apple's legendary houses of mirth are being lost. By excavating the city's cultural history, this delightful book unearths some of the many mysteries that lurk around the corner and lets readers see the city in a whole new light.

    The latest title in the highly successful Fashion in Detail series, this book offers a detailed look at some of the most stunning garments in the collection. In meticulous detail, the book features line drawings of each garment's structure and specially commissioned close-up photographs of each item's most impressive aspects: fastenings, necklines, cuffs, hemlines, fringes, and more. Arranged thematically, the authors provide information about everything from seams, buttons and collars, to beads, tucks, and pleats. The result is a visual banquet of textures, patterns, and craftsmanship and an eye-opening testament to the variety and creativity of modern dress. An essential visual reference for designers, students, and fashionistas everywhere.

    An examination of the way American suburbia has been depicted in Gothic and horror films, television and literature from 1948 to the present day, in which Bernice Murphy demonstrates that Gothic depictions of suburbia provide an intriguing glimpse into the way modern American society views itself.

    Historian Patricia Sullivan unearths the little-known early decades of the NAACPOCOs activism, telling startling stories of personal bravery, legal brilliance, and political maneuvering by the likes of W.E.B. Du Bois, Mary White Ovington, Walter White, Charles Houston, Ella Baker, Thurgood Marshall, and Roy Wilkins. In the critical post-war era, following a string of legal victories culminating in Brown v. Board, the NAACP knocked out the legal underpinnings of the segregation system and set the stage for the final assault on Jim Crow. A sweeping and dramatic story woven deep into the fabric of American history?OCOhistory that helped shape AmericaOCOs consciousness, if not its soulOCO " (Booklist)" ? " Lift Every Voice " offers a timeless lesson on how people, without access to the traditional levers of power, can create change under seemingly impossible odds.

    Based on a series of con-versations between Metzner and Ram Dass and recorded by psychiatrist and author Gary Bravo, this book describes their initial experiments at Harvard, the experiments after they were dismissed from Harvard, their journeys to India and their reflections on that transformative era. Birth of a Psychedelic Culture is filled with never before published photographs. Luminaries who appear in this astonishing account include: Aldous Huxley, Allen Ginsberg, R.D. Laing, Charles Mingus, Maynard Ferguson and William Burroughs, as well as many lesser known personalities. These include convicts, graduate students and Vedantist monks! In addition to reviewing the experiments, the conversations offer vividly-recalled descriptions of particular trips, with profound insights into the nature of hallucinogens and the role they can play in transcending social conditioning. Included in Birth of a Psychedelic Culture are personal commentaries from some of the other players integral to the scene: Peggy Hitchcock, the Mellon Foundation heiress; Dr. George Litwin, Harvard professor and author; Dr. Gunther Weil, psychologist and educator; Dr. Michael Kahn, clinical psychologist and Professor Emeritus at USC, Santa Cruz; poet Dr. Elsa von Eckartsberg; Dr. George Litwin, organizational behavior consultant; Dr. Paul Lee, professor of philosopy and religion, UC Santa Cruz; Dorothy Fadiman, award winning filmmaker; Lisa Ferguson, and many others. No understanding of the history of the sixties could ever be complete without a grasp of the work of Leary, Alpert, and Metzner, the cultural resistance to their experiments, and the way in which psychoactive drug use became a part of contemporary society.

    Still today, these lustful, passionate and sometimes lurid images are enticing and artistically inspiring. From sexy, semi-dressed pin-up dolls to dangerous bad girls and deadly dames, many of these rare covers were painted by some of the most talented and collectible artists of the last 50 years, including popular American artists Robert Bonfils, Robert Maguire, Gene Bilbrew and Bill Ward, and British artists Reginald Heade and H.W. Perl.Always titillating, often tawdry, definitely not politically correct nor for the faint of heart, the nearly 700 full-color pulp fiction paperback cover images in this book show women in all their sexy, sassy and sinful best.This dynamic book also features: 700 covers with title, author, cover artist, publisher, book number, and date of publication for each book; values for three grades of condition; a quick guide to collecting; and a list of specialist book dealers and collector shows.

    I am west of the West," and in this book, Mark Arax spends four years travelling up and down the Golden State to explore its singular place in the world. This is California beyond the cliches. This is California as only a native son, deep in the dust, could draw it.Compelling, lyrical, and ominous, his new collection finds a different drama rising out of each confounding landscape. "The Summer of the Death of Hilario Guzman" has been praised as a "stunningly intimate" portrait of one immigrant family from Oaxaca, through harrowing border crossings and brutal raisin harvests. Down the road in the "Home Front," right-wing Christians and Jews form a strange pact that tries to silence debate on the War on Terror, and a conflicted father loses not one but two sons in Iraq. "The Last Okie in Lamont," the inspiration for the town in the Grapes of Wrath, has but one Okie left, who tells Arax his life story as he drives to a funeral to bury one more Dust Bowl migrant. "The Highlands of Humboldt" is a journey to marijuana growing capital of the U.S., where the old hippies are battling the new hippies over "pollution pot" and the local bank collects a mountain of cash each day, much of it redolent of cannabis. Arax pieces together the murder-suicide at the heart of a rotisserie chicken empire in "The Legend of Zankou," a story included in the Best American Crime Reporting 2009. And, in the end, he provides a moving epilogue to the murder of his own father, a crime in the California heartland finally solved after thirty years.In the finest tradition of Joan Didion, Arax combines journalism, essay, and memoir to capture social upheaval as well as the sense of being rooted in a community. Piece by piece, the stories become a whole, a stunning panorama of California, and America, in a new century.

    Tulku Thondup instructs that by bringing to mind images and thoughts of Avalokitesvara, the Buddhist deity of loving-kindness, we can connect from the heart with the Buddha's example. According to Tulku Thondup, when we awaken loving-kindness through this practice, our outlook on life fundamentally changes and we ourselves can become a source of joy and inspiration to others. On the first CD, Tulku Thondup describes the benefits of loving-kindness and offers guidance on how to practice the meditations. On the second and third CDs, he leads guided meditations for invoking and sharing the blessings of the Buddha of Loving-Kindness. In the book, Tulku Thondup offers teachings on the Buddhist view of loving-kindness and philosophy behind Tibetan Buddhist visualization and prayer practices. The package also includes a full-color illustration of Avalokitesvara, the Buddha of Loving-Kindness, for help with the visualization. 3 CDs, 3 hours.

    Highlighting cultural and political resistance within Puerto Rico’s gay, lesbian, bisexual, and transgender subcultures, La Fountain-Stokes pays close attention to differences of gender, historical moment, and generation, arguing that Puerto Rican queer identity changes over time and is experienced in very different ways. He traces an arc from 1960s Puerto Rico and the writings of Luis Rafael Sánchez to New York City in the 1970s and 1980s (Manuel Ramos Otero), Philadelphia and New Jersey in the 1980s and 1990s (Luz María Umpierre and Frances Negrón-Muntaner), and Chicago (Rose Troche) and San Francisco (Erika López) in the 1990s, culminating with a discussion of Arthur Avilés and Elizabeth Marrero’s recent dance-theater work in the Bronx. Proposing a radical new conceptualization of Puerto Rican migration, this work reveals how sexuality has shaped and defined the Puerto Rican experience in the United States.

    As a manager, it is up to you to have high expectations for your employees, and to communicate those expectations to them. In Pygmalion in Management, J. Sterling Livingston urges you to understand the power you have over your subordinates' success, and use it to benefit everyone involved.

    Harlan Wilson measures the evolution of the human condition as it has been represented by postcapitalist science fiction, which has consistently represented the body and subjectivity as ultraviolent pathological phenomena. Operating under the assumption that selfhood is a technology, Wilson studies the emergence of selfhood in philosophy (Deleuze & Guattari), fiction (William S. Burroughs' cut-up novels and Max Barry's Jennifer Government), and cinema (Army of Darkness, Vanilla Sky, and the Matrix trilogy) in an attempt to portray the schizophrenic rigor of twenty-first century mediatized life. We are obligated by the pathological unconscious to always choose to be enslaved by capital and its hi-tech arsenal. The universe of consumer-capitalism, Wilson argues, is an illusory prison from which there is no escape-despite the fact that it is illusory.

    Drawing on Gilles Deleuze's philosophy of the body, and on Deleuze-Spinoza's relevant concepts of affect and expression, Elena del R�o examines a kind of cinema that she calls 'affective-performative'. The features of this cinema unfold via detailed and engaging discussions of the movements, gestures and speeds of the body in a variety of films by Douglas Sirk, Rainer W. Fassbinder, Sally Potter, Claire Denis, and David Lynch. Key to the book's engagement with performance is a consistent attention to the body's powers of affection. Grounding her analysis in these powers, del R�o shows the insufficiency of former theoretical approaches in accounting for the transformative and creative capacities of the moving body of performance.Deleuze and the Cinemas of Performance will be of interest to any scholars and students of film concerned with bodily aspects of cinema, whether from a Deleuzian, a phenomenological, or a feminist perspective.Key Features*The first study of the interface between Deleuzian theory and film performance.*A sustained consideration of the links between the body of performance and the body of affect.*A reevaluation of central concepts in earlier film theory-from fetishistic spectacle and performativity to Brechtian distanciation, sadomasochism, and narcissism.*An analysis of the relation of the performative body to a feminist politics.*New readings of classical melodramas as well as contemporary independent cinemas.

    From the baby boom years into the 1970s, the apartment plot was not only key to films; it also surfaced in TV shows, Broadway plays, literature, and comic strips, from The Honeymooners and The Mary Tyler Moore Show to Subways are for Sleeping and Apartment 3-G. By identifying the apartment plot as a film genre, Wojcik reveals affinities between movies generally viewed as belonging to such distinct genres as film noir, romantic comedy, and melodrama. She analyzes the apartment plot as part of a mid-twentieth-century urban discourse, showing how it offers a vision of home centered on values of community, visibility, contact, mobility, impermanence, and porousness that contrasts with views of home as private, stable, and family-based. Wojcik suggests that the apartment plot presents a philosophy of urbanism related to the theories of Jane Jacobs and Henri Lefebvre. Urban apartments were important spaces for negotiating gender, sexuality, race, and class in mid-twentieth-century America.

    T. Barnum or Walt Disney in North America. Hagenbeck was the nineteenth century's foremost animal trader and ethnographic showman, known for his enormously popular displays of people, animals, and artifacts gathered from all corners of the globe. The culmination of Hagenbeck's commercial ventures was the opening of his Tierpark near Hamburg in 1907, a dazzling assemblage of constructed exotic environments inhabited by humans and animals.Eric Ames shows that Hagenbeck's various enterprises illustrate a significant evolution in popular culture. Earlier display forms that relied on the collection and presentation of "authentic" artifacts and living beings--the panorama, the zoological garden, the ethnographic collection--gave rise to the self-consciously synthetic forms of entertainment that we now associate with theme parks and films. This shift took place in the context of Hagenbeck's exhibitions, which were simultaneously the apotheosis of the collecting impulse and the germinating source for the creation of fictional spaces that rely for their effect on the spectator's imaginative engagement and interaction with the spectacle.Carl Hagenbeck's Empire of Entertainments locates Hagenbeck's myriad enterprises in the context of colonialism and nascent globalization; ethnography and anthropology; zoological gardens and international expositions; museum culture and visual spectacle; and consumerism and immersive entertainments. By tracing out the divergent lineages of themed environments, Ames offers a vivid reconstruction of the impulses and contradictions that lay behind the visual and display culture of the nineteenth and early twentieth centuries--a culture that forms the foundation of contemporary themed environments.Written in an accessible style with many wonderful images, this book draws on meticulous archival research and a wealth of primary sources not available in English. It is an original and entertaining interdisciplinary study that will appeal to readers interested in visual culture, popular culture, nineteenth-century German history, and film studies, as well as anyone intrigued by the history of such popular entertainments as zoos, museums, panoramas, world's fairs, cinema, theme parks, anthropological exhibitions, and Wild West Shows.

    Six case studies draw on CEO memoirs, annual reports, management manuals, advertising campaigns, and other sources to analyze the self-representations and rhetorical maneuvers that corporations use to obscure the full extent of their power. Images of corporate character and responsibility are intertwined with the changes in local economy, politics, and culture wrought by globalization and neoliberalism. The contributors to this volume describe the effects of specific corporate practices on individuals and communities and how activists and academics are responding to labor and environmental abuses.

    In their view, it is an extension of a neoliberal economic developmentalism, imagined as non-ideological and anti-authoritarian (“democratic”) and as the highest cultural form of capitalism.Poetry, that under-achieving commodity, that “greeny flower,” has not been exempt from the increased glare of what is now the new state cultural watchdog. An early public controversy—generating vitriolic discourse—was the long poem “Somebody Blew Up America,” by Amiri Baraka, then poet laureate for the state of New Jersey. Jeff Derksen spins this controversial issue (and many others) around the pivot of September 11, 2001. To read these works in the cultural and social context that led to them being criminalized or erased, we can look to how 9/11 provided an historical occasion for a reconfiguration of the role of culture in the nation state.In this collection of essays, Derksen explores the ways in which seemingly minor forms of culture—poetry, visual art, and critical practices—encounter what he calls “the long present neoliberal moment” of the imperialist agenda of globalization. The title inverts Marx’s famous view (central to critical geography) that “the problem of space” has been overcome: that capitalism annihilates space with time. Today, literary, cultural and geographical readings emphasize our lived experience of space and contest the representations of a globalized environment that capital and its ideological software, neoliberalism, promote.

    Grounded in primary research and paying close attention to the historical archive, this book offers against-the-grain readings of the literary and activist work of Harriet Jacobs, Harriet Wilson, Frances E. W. Harper, Victoria Earle Matthews and Amelia E. Johnson.Part literary criticism and part cultural history, Activist Sentiments examines nineteenth-century social, political, and representational literacies and reading practices. P. Gabrielle Foreman reveals how Black women's complex and confrontational commentary–often expressed directly in their journalistic prose and organizational involvement--emerges in their sentimental, and simultaneously political, literary production.

    From a history of anti-Asian racism to a deconstruction of the city's urban sprawl; from an examination of local food trends to a survey of the city's politically radical past, Vancouver Special is a love letter to the city, taking a no-holds-barred look at Lotusland with verve, wit, and insight.

    

    imperialism: in the years immediately following September 11, 2001. Drawing on ethnographic research in a New England high school, Maira investigates the cultural dimensions of citizenship for South Asian Muslim students and their relationship to the state in the everyday contexts of education, labor, leisure, dissent, betrayal, and loss. The narratives of the mostly working-class youth she focuses on demonstrate how cultural citizenship is produced in school, at home, at work, and in popular culture. Maira examines how young South Asian Muslims made sense of the political and historical forces shaping their lives and developed their own forms of political critique and modes of dissent, which she links both to their experiences following September 11, 2001, and to a longer history of regimes of surveillance and repression in the United States.Bringing grounded ethnographic analysis to the critique of U.S. empire, Maira teases out the ways that imperial power affects the everyday lives of young immigrants in the United States. She illuminates the paradoxes of national belonging, exclusion, alienation, and political expression facing a generation of Muslim youth coming of age at this particular moment. She also sheds new light on larger questions about civil rights, globalization, and U.S. foreign policy. Maira demonstrates that a particular subjectivity, the “imperial feeling” of the present historical moment, is linked not just to issues of war and terrorism but also to migration and work, popular culture and global media, family and belonging.

    Book annotation not available for this title...Title: .Economies of Desire..Author: .Cabezas, Amalia L...Publisher: .Temple Univ Pr..Publication Date: .2009/04/28..Number of Pages: .218..Binding Type: .PAPERBACK..Library of Congress: .2008043758

    She shows how members of the ruling Kemalist elite in Turkey further aligned themselves with Europe by choosing German-speaking architects to oversee much of the design of modern cities. Focusing on the period from the 1920s through the 1950s, Akcan traces the geographical circulation of modern residential models, including the garden city—which emphasized green spaces separating low-density neighborhoods of houses surrounded by gardens—and mass housing built first for the working-class residents in industrial cities and, later, more broadly for mixed-income residents. She shows how the concept of translation—the process of change that occurs with transportation of people, ideas, technology, information, and images from one or more countries to another—allows for consideration of the sociopolitical context and agency of all parties in cultural exchanges. Moving beyond the indistinct concepts of hybrid and transculturation and avoiding passive metaphors such as import, influence, or transfer, translation offers a new approach relevant to many disciplines. Akcan advocates a commitment to a new culture of translatability from below for a truly cosmopolitan ethics in a globalizing world.Esra Akcan is Assistant Professor of Art History at the University of Illinois, Chicago. She is the author of (Land)Fill Istanbul: Twelve Scenarios for a Global City."This study is seminal on two counts: it analyzes the relatively new concept of cultural translation, and it affords the reader an extremely interesting account of the evolution of Kemalist cultural policies."—Kenneth Frampton, author of Form Material Assembly: The Work of Francis-Jones Morehen Thorp"Tracing the surprisingly intertwined twentieth-century histories of German and Turkish residential housing and urban planning from the garden city via the urban Siedlung to the national house, Esra Akcan brilliantly deploys lingual translation theory as a flexible template to analyze zones of asymmetrical exchange in architecture and urban planning. Architecture in Translation moves compellingly beyond modernist universalism and nationalist regionalism toward a cosmopolitan ethics as a goal for a global architecture."—Andreas Huyssen, editor of Other Cities, Other Worlds: Urban Imaginaries in a Globalizing Age

    This seemingly unbridgeable gap tears at the country’s social fabric while provoking younger generations to greater artistic heights. The unique sound emerging from Beijing’s underground delves deeply into this void, aggressively questioning the moral and social basis of China’s fragile modernity even as it subsists upon it. A formidable new wave of Chinese musicians is taking the city by storm. Revolving around four venues spread across Beijing, a burgeoning group of performers are working outside government-controlled media channels, and in the process, capturing the attention of the international music community. They now constitute a fresh, independent voice in a country renowned for creative conformity and saccharine Cantonese pop. In Sound Kapital , photographer Matthew Niederhauser captures the energy of the personalities and performers at D-22, Yugong Yishan, 2 Kolegas, and MAO Livehouse. These revolutionary Beijing nightclubs remain at the core of the city’s creative explosion by hosting an eclectic mix of punk, experimental, rock, and folk performances. Included with the book are concert posters and illustrations that encapsulate the underground scene in Beijing, as well as a CD sampler of the new music being produced. There is no doubt that these musicians will continue to break ground within Beijing’s nascent artistic landscape, helping to push the boundaries of an already expanding realm of independent thought and musical expression in China.

    Includes interviews with fifty-nine waitresses in forty-three towns and cities.

    van Dijk in this study presents the second part of his multidisciplinary theory of context. The main thesis of this theory is that the influence of society on discourse is not direct, as is postulated for instance in sociolinguistics, but cognitively mediated by subjective mental models of the communicative situation: context models. These dynamic models control discourse production and comprehension and define the pragmatic appropriateness of text and talk. Whereas in Discourse and Context the psychological and linguistic aspects of context were analyzed, this book focuses on the social psychological, sociological, anthropological and political aspects of context. Tony Blair's 2003 speech defending his motion to go to war against Saddam Hussein and the following debate in parliament is used as an example illustrating the new theory.

    The control of the means of representation affected nearly every aspect of the incarceration, from the mug shots criminalizing Japanese Americans to the prohibition of cameras in the hands of inmates. The government hired photographers to make an extensive record of the forced removal and incarceration but forbade Japanese Americans from photographically documenting the conditions of the camps or any aspect of their lives. In this insightful study, Jasmine Alinder explores the photographic record of the imprisonment in war relocation centers such as Manzanar, Tule Lake, Jerome, and others. She investigates why photographs were made, how they were meant to function, and how they have been reproduced and interpreted subsequently by the popular press and museums in constructing versions of public history. Considering such factors as artistic intention, institutional deployment, critical interpretation, and popular reception, Alinder provides calibrated readings of the photographs from this period. She uncovers the tension between Dorothea Lange's moving and critical images of the camps and the War Relocation Authority's blindly positive captions. She also analyzes Ansel Adams's attempt to combat negative war propaganda through humanizing photographs of Japanese Americans and locates the limits of such a counternarrative in the midst of a national mobilization against Japan.Moving Images examines the work of Japanese American photographers operating both during and after the incarceration, including Manzanar inmate Toyo Miyatake, who constructed his own camera to document the complicated realities of camp life for his fellow inmates. More recently, contemporary artists Patrick Nagatani and Masumi Hayashi have used photography to reckon with the legacy of incarceration by journeying to the camp sites and creating photographs that bridge the intergenerational divides between their parents, themselves, and their children.Illustrated with more than forty photographs, Moving Images reveals the significance of the camera in the process of incarceration as well as the construction of race, citizenship, and patriotism in this complex historical moment.

    The people live in tune with the natural rhythms and cycles of the water and the soil. Ingrained in their community and culture, rice farming connects them to the land and one another.Balinese farmers have planted rice using an intricate system of water sharing and crop rotation for more than a thousand years. Intertwined with their spiritual, social, and day-to-day lives, this system has made Bali a leading producer of one of the world's most important crops. And because Balinese rice farming respects the balances of nature, it serves as a remarkable example of sustainable agriculture in an increasingly industrialized world.With lush photographs and captivating text, Jan Reynolds explores the traditional world of rice farming on the beautiful island of Bali. Readers of all ages will come away with an enhanced awareness of how we farm, eat, and live today, and the effects these practices have on the world of tomorrow.

    Drawing on both English and Chinese sources, he argues that, from the early colonial era, colonial power has been extensively shared between colonizers and the Chinese who chose to work with them. This exploration of the form of colonial power includes critical discussions of various cultural and institutional aspects, looking into such issues as education, language use, political ideologies and other cultural and political concerns. These considerations permit the author to shed new light from a historical perspective on the complex and hotly debated question of Hong Kong identity. But it is not written just out of an interest in things of the past. Rather, the arguments of this book shed new light on some current issues of major relevance to post-colonial Hong Kong. In making critical use of post-colonial approaches, this book not only makes an original and important contribution to Hong Kong studies, but also makes evident that Hong Kong is an important case for all interested in examining the colonial experience in East Asia. This book is of interest to all with an interest in Hong Kong’s history and current issues, but also more widely to those who study the phenomenon of colonialism in the Asian region.

    Elisa Glick argues that the gay subject emerged out of the specifically modern, capitalist contradiction between the public world of production and industry and the private world of consumption and pleasure. Boldly bringing modernism into dialogue with Marxist and queer theory, Glick offers an innovative, materialist account of modern queer consciousness that challenges tendencies to oppose private eroticism and the systems of value that govern public interests. In the process she illuminates the connections between aesthetic, sexual, and social formations in modern life--between modernity's disruptive, queer desires and their unfolding in an increasingly rationalized society.

    Executive Director, HeartLife Professional Soul-Care Clinical Professor of Biblical Counseling, The Southern Baptist Theological Seminary Author, "Picking up the Pieces Handbook: Creating a Dynamic Soul-Care Ministry in Your Church" I was a pro at putting on a false face... But inside I was dying and crying for relief. Depression can be a prison and no one knows better than Tina Thompson what it means to be trapped in the cage of sadness and apathy. In Tina's autobiographical account of struggling for years with depression, she paints a picture of what it takes to overcome anxiety and depression and live a truly fulfilling life knowing that nobody is alone. She delves into the roots of depression, highlighting key symptoms including apathy and emotional trauma. She encourages all sufferers to stop fighting for control, to let God take over. Through faith, exercise, and self-awareness, anyone can break the chains of depression and be truly Released. Tina Thompson is a wife, mother of two married daughters, and homemaker living in Lexington, Kentucky. Teaching women's Bible studies, speaking at women's conferences, and discipling ladies one-on-one, Tina is dedicated to helping women discover the life-changing power of God's Word. She attended Lexington Baptist College, but her education has come primarily through her personal Bible study and the experience and research that resulted from years of depression, anxiety, and panic attacks. To contact Tina, please e-mail her at tinathompson@releasedministries.com.

    Presented as a cancionero, or anthology, in the mode of New Spain, the ballads show a reordering—but not an abandonment—of classic Aztec values. In the careful reading of John Bierhorst, the ballads reveal in no uncertain terms the pre-conquest Aztec belief in the warrior’s paradise and in the virtue of sacrifice. This volume contains an exact transcription of the thirty-six Nahuatl song texts, accompanied by authoritative English translations. Bierhorst includes all the numerals (which give interpretive clues) in the Nahuatl texts and also differentiates the text from scribal glosses. His translations are thoroughly annotated to help readers understand the imagery and allusions in the texts. The volume also includes a helpful introduction and a larger essay, “On the Translation of Aztec Poetry,” that discusses many relevant historical and literary issues. In Bierhorst’s expert translation and interpretation, Ballads of the Lords of New Spain emerges as a song of resistance by a conquered people and the recollection of a glorious past.

    K. Hancock Prize of the Australian Historical Association in 2010. Why are women turning their back on feminism? This book examines the rise and fall of feminism in the public imagination in the last twenty years, and explains why 'feminism failed me' has become the catch-cry of a generation. Today many women feel betrayed by the promises of feminism and are looking for liberation through 'raunch culture' or as 'yummy mummies' and 'domestic goddesses'. Yet during the 1980s the popular ideal of the 'Superwoman' offered a source of empowerment and pride for women and equality with men - even 'having it all' - seemed possible. Through a close reading of popular culture sources, this book shows how women's engagement with feminism has shifted over time, and considers its future as a social movement.

    Social Science. With his seventy-two keys, Konrad Becker aims to unlock the gates of strategic reality: its construction over centuries, its imposition through stealth and force, its dull and laborious maintenance, and its dissolution and destruction by those who can't take it anymore. The subjects treated here range widely, from Affective Images and Conspired Environments to Hyperreal Estate (a high-profile topic during the credit crunch of 2008), Phantom Induction, Reality Maps, Synthetic Fear, etc. These keys are communicational models of phantasmagoric systems, which unlock and display, for brief moments, the operations of the complex machinery that stealthily attempts to recreate our own perceptions, affects and expressions. Yet unlike the other systems which they so expertly mimic and reduplicate, these have the grace of immediately dissolving into thin air, while durably revealing the smoke and mirrors that appeared to give them substance.

    Today manga has become a global phenomenon, attracting audiences in North America, Europe, Africa, and Australia. The style has become so popular, in fact, that in the US and UK publishers are appropriating the manga style in a variety of print material, resulting in the birth of harlequin mangas which combine popular romance fiction titles with manga aesthetics. Comic publishers such as Dark Horse and DC Comics are translating Japanese "classics", like Akira, into English. And of course it wasn't long before Shakespeare received the manga treatment. So what is manga? Manga roughly translates as "whimsical pictures" and its long history can be traced all the way back to picture books of eighteenth century Japan. Today, it comes in two basic forms: anthology magazines (such as Shukan Shonen Jampu) that contain several serials and manga ‘books' (tankobon) that collect long-running serials from the anthologies and reprint them in one volume. The anthologies contain several serials, generally appear weekly and are so thick, up to 800 pages, that they are colloquially known as phone books. Sold at newspaper stands and in convenience stores, they often attract crowds of people who gather to read their favorite magazine. Containing sections addressing the manga industry on an international scale, the different genres, formats and artists, as well the fans themselves, Manga: An Anthology of Global and Cultural Perspectives is an important collection of essays by an international cast of scholars, experts, and fans, and provides a one-stop resource for all those who want to learn more about manga, as well as for anybody teaching a course on the subject.