The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.

    Their number grows more rapidly than that of any other major faith. In The Triumph of Xianity, religious & social historian Stark explains how an obscure Jewish sect became the largest, most thriving religion in the world. In his The Rise of Xianity, he examined the early success of Xianity & how it conquered Rome. Now he tells a more extensive story, beginning with the religious & social situation prior to Jesus' birth & continuing to the present. As it moves thru six historical eras, The Triumph of Xianity gets right to Xianity's most pivotal & controversial moments—often turning them on their heads:-Xmas Eve surveys the religious situation within which Xianity began.-Xianizing the Empire looks at Jesus' life & the formative days of the movement he inspired, explaining why Xianity was a reprieve from the miseries of daily life for many.-Consolidating Xian Europe argues that Constantine's conversion did the church great harm, examines the gradual demise of paganism & clarifies the motives behind the Crusades.-Medieval Currents sheds light on the misleadingly named "Dark Ages" & the vital role faith played in the scientific revolution.-Xianity Divided examines two Roman Catholic "Churches"—a Church of Piety & a Church of Power—as they respond to heretical challenges, Luther's Reformation & the Spanish Inquisition.-New Worlds & Xian Growth considers the development of religious pluralism in the USA & the continuing vigor of Xianity worldwide, disproving the popular notion that religion must disappear to make room for modernity. With his knack for making bold, original scholarship accessible to all, Stark presents the story behind the tragedies & triumphs that have shaped the trajectory of the Xian faith & much of global history. For scholars & laity alike, this is a journey thru events we think we know & need to reconsider.IntroductionThe religious context Many JudaismsJesus & the Jesus movementMissionizing the Jews & the GentilesChristianity & privilegeMisery & mercyAppeals to womenPersecution & commitment Assessing Christian growth Constantine's very mixed blessings The demise of paganism Islam & the destruction of Eastern & North African ChristianityEurope responds: the case for the CrusadesThe "Dark Ages" & other mythical erasThe people's religionFaith & the scientific "Revolution"Two "churches" & the challenge of heresyLuther's reformationThe shocking truth about the Spanish InquisitionPluralism & American pietySecularization: facts & fantasiesGlobalizationConclusionBibliographyNotesIndex

    Black Saturday. Wood, who's a country cop with twenty years experience—and also a raucous, meditating, horse-riding vegan—was the only officer on duty in the small community of Kinglake. As the firestorm approached he was called out to numerous incidents including multi-fatality car accidents. He led a group of fifty people from a store west of Kinglake four kilometres to safety through burning bush. Minutes before it was completely destroyed. Then, as the fire raged around him, he phoned his family ten kilometres away to warn them what was coming. When his wife answered, she screamed that the fire had already hit their property. Then the line went dead. Black Saturday was a many-headed monster in whose wake stories of grief, heroism and desolation erupted all over the state of Victoria. This book is about the monster—and the heroism of those who confronted it.

    Judith Halberstam proposes “low theory” as a mode of thinking and writing that operates at many different levels at once. Low theory is derived from eccentric archives. It runs the risk of not being taken seriously. It entails a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance. Tacking back and forth between high theory and low theory, high culture and low culture, Halberstam looks for the unexpected and subversive in popular culture, avant-garde performance, and queer art. She pays particular attention to animated children’s films, revealing narratives filled with unexpected encounters between the childish, the transformative, and the queer. Failure sometimes offers more creative, cooperative, and surprising ways of being in the world, even as it forces us to face the dark side of life, love, and libido.

    Offering bold new ways of conceiving the present, Lauren Berlant describes the cruel optimism that has prevailed since the 1980s, as the social-democratic promise of the postwar period in the United States and Europe has retracted. People have remained attached to unachievable fantasies of the good life—with its promises of upward mobility, job security, political and social equality, and durable intimacy—despite evidence that liberal-capitalist societies can no longer be counted on to provide opportunities for individuals to make their lives “add up to something.”Arguing that the historical present is perceived affectively before it is understood in any other way, Berlant traces affective and aesthetic responses to the dramas of adjustment that unfold amid talk of precarity, contingency, and crisis. She suggests that our stretched-out present is characterized by new modes of temporality, and she explains why trauma theory—with its focus on reactions to the exceptional event that shatters the ordinary—is not useful for understanding the ways that people adjust over time, once crisis itself has become ordinary. Cruel Optimism is a remarkable affective history of the present.

    Cindy writes her zine like she is figuring out the human condition. She makes writing about the simplest and most common things--playing music, childhood, cooking, or sex--resonate with universal understanding. She helps us make sense of more complex things like the satisfaction from doing useful work, natural curiosity, the ability to use logic, gender dynamics, introspection, the need for challenge and change, combating depression and creating art and literature. She shares and explores the emotions involved with having an abortion, rape, dealing with the death of family, or sexual harassment in a context that is enlightening and personal, feeling like a close friend opening up to you. What's most impressive though is that she relates these things into every article in her zine seamlessly.

    The Kaurava brothers tricked their Pandava cousins out of a kingdom, and even Lord Krishna could not stop the horror and bloodshed that followed. Veda Vyasa composed an epic poem, the longest in the world, to describe the events that unfolded. In this epic tale of superhuman heroes and gory action, Veda Vyasa explores human ambitions, relationships and conflicts to find the true purpose of life

    Jesus's ability to woo people to him and win their hearts was directly related to how he challenged their assumptions about religion. He not only gave them a unique, personal way to follow him but also showed them how to participate with him in his mission.Sacrilege helps readers rethink what it really means to become like Jesus. It exposes the patterns of thinking that have held the church hostage for years and inspires readers to rethink the way they understand Scripture, family, spiritual formation, conversion, church, sin, and more.

    The Invasion of Canada is a remarkable account of the war's first year and the events that led up to it; Pierre Berton transforms history into an engrossing narrative that reads like a fast-paced novel. Drawing on personal memoirs and diaries as well as official dispatches, the author has been able to get inside the characters of the men who fought the war - the common soldiers as well as the generals, the bureaucrats and the profiteers, the traitors and the loyalists. The Canada-U.S. border was in flames as the War of 1812 continued. York's parliament buildings were on fire, Niagara-on-the-Lake burned to the ground and Buffalo lay in ashes. Even the American capital of Washington, far to the south, was put to the torch. The War of 1812 had become one of the nineteenth century's bloodiest struggles.Flames Across the Border is a compelling evocation of war at its most primeval - the muddy fields, the frozen forests and the ominous waters where men fought and died. Pierre Berton skilfully captures the courage, determination and terror of the universal soldier, giving new dimension and fresh perspective to this early conflict between the two emerging nations of North America.

    This is the first book to explore the varied philosophical aspects of the film. Beginning with an introduction by the editor that places the film and essays in context, each chapter explores a central theme of Fight Club from a philosophical perspective. Topics discussed include:Fight Club, Plato's cave and Descartes' cogito moral disintegration identity, gender and masculinity visuals and narration.Including annotated further reading at the end of each chapter, Fight Club is essential reading for anyone interested in the film, as well as those studying philosophy and film studies.

    In some neighborhoods in America, one out of every two hundred young black men is shot to death every year, and few initiatives of government and law enforcement have made much difference. But when David Kennedy, a self-taught and then-unknown criminologist, engineered the "Boston Miracle" in the mid-1990s, he pointed the way toward what few had imagined: a solution. Don't Shoot tells the story of Kennedy's long journey. Riding with beat cops, hanging with gang members, and stoop-sitting with grandmothers, Kennedy found that all parties misunderstood each other, caught in a spiral of racialized anger and distrust. He envisioned an approach in which everyone-gang members, cops, and community members-comes together in what is essentially a huge intervention. Offenders are told that the violence must stop, that even the cops want them to stay alive and out of prison, and that even their families support swift law enforcement if the violence continues. In city after city, the same miracle has followed: violence plummets, drug markets dry up, and the relationship between the police and the community is reset. This is a landmark book, chronicling a paradigm shift in how we address one of America's most shameful social problems. A riveting, page-turning read, it combines the street vérité of The Wire, the social science of Gang Leader for a Day, and the moral urgency and personal journey of Fist Stick Knife Gun. But unlike anybody else, Kennedy shows that there could be an end in sight.

    While just over 11.0 million survived the arduous journey, only about 450,000 of them arrived in the United States. The rest--over ten and a half million--were taken to the Caribbean and Latin America. This astonishing fact changes our entire picture of the history of slavery in the Western hemisphere, and of its lasting cultural impact. These millions of Africans created new and vibrant cultures, magnificently compelling syntheses of various African, English, French, Portuguese, and Spanish influences. Despite their great numbers, the cultural and social worlds that they created remain largely unknown to most Americans, except for certain popular, cross-over musical forms. So Henry Louis Gates, Jr. set out on a quest to discover how Latin Americans of African descent live now, and how the countries of their acknowledge-or deny--their African past; how the fact of race and African ancestry play themselves out in the multicultural worlds of the Caribbean and Latin America. Starting with the slave experience and extending to the present, Gates unveils the history of the African presence in six Latin American countries--Brazil, Cuba, the Dominican Republic, Haiti, Mexico, and Peru--through art, music, cuisine, dance, politics, and religion, but also the very palpable presence of anti-black racism that has sometimes sought to keep the black cultural presence from view.In Brazil, he delves behind the facade of Carnaval to discover how this "rainbow nation" is waking up to its legacy as the world's largest slave economy.In Cuba, he finds out how the culture, religion, politics and music of this island is inextricably linked to the huge amount of slave labor imported to produce its enormously profitable 19th century sugar industry, and how race and racism have fared since Fidel Castro's Communist revolution in 1959.In Haiti, he tells the story of the birth of the first-ever black republic, and finds out how the slaves's hard fought liberation over Napoleon Bonaparte's French Empire became a double-edged sword.In Mexico and Peru, he explores the almost unknown history of the significant numbers of black people--far greater than the number brought to the United States--brought to these countries as early as the sixteenth and seventeenth centuries, and the worlds of culture that their descendants have created in Vera Cruz on the Gulf of Mexico, the Costa Chica region on the Pacific, and in and around Lima, Peru.Professor Gates' journey becomes ours as we are introduced to the faces and voices of the descendants of the Africans who created these worlds. He shows both the similarities and distinctions between these cultures, and how the New World manifestations are rooted in, but distinct from, their African antecedents. Black in Latin America is the third installment of Gates's documentary trilogy on the Black Experience in Africa, the United States, and in Latin America. In America Behind the Color Line, Professor Gates examined the fortunes of the black population of modern-day America. In Wonders of the African World, he embarked upon a series of journeys to reveal the history of African culture. Now, he brings that quest full-circle in an effort to discover how Africa and Europe combined to create the vibrant cultures of Latin America, with a rich legacy of thoughtful, articulate subjects whose stories are astonishingly moving and irresistibly compelling.-from http://nyupress.org/books/9780814738184/

    As the idea of childhood innocence took hold, it became racialized: popular culture constructed white children as innocent and vulnerable while excluding black youth from these qualities. Actors, writers, and visual artists then began pairing white children with African American adults and children, thus transferring the quality of innocence to a variety of racial-political projects—a dynamic that Robin Bernstein calls “racial innocence.” This phenomenon informed racial formation from the mid-19th century through the early 20th century.Racial Innocence takes up a rich archive including books, toys, theatrical props, and domestic knickknacks which Bernstein analyzes as “scriptive things” that invite or prompt historically located practices while allowing for resistance and social improvisation. Integrating performance studies with literary and visual analysis, Bernstein offers singular readings of theatrical productions, from blackface minstrelsy to Uncle Tom’s Cabin to The Wonderful Wizard of Oz; literary works by Joel Chandler Harris, Harriet Wilson, and Frances Hodgson Burnett; material culture including Topsy pincushions, Uncle Tom and Little Eva handkerchiefs, and Raggedy Ann dolls; and visual texts ranging from fine portraiture to advertisements for lard substitute. Throughout, Bernstein shows how “innocence” gradually became the exclusive province of white children—until the Civil Rights Movement succeeded not only in legally desegregating public spaces, but in culturally desegregating the concept of childhood itself.Writing in Children’s Literature, Philip Nel notes that Racial Innocence is “one of those rare books that shifts the paradigm—a book that, in years to come, will be recognized as a landmark in children’s literature and childhood studies.” In the journal Cultural Studies, reviewer Aaron C. Thomas says that Bernstein’s “theory of the scriptive thing asks us to see children as active participants in culture, and, in fact, as expert agents of the culture of childhood into which they have been interpellated. In this way, Bernstein is able not only to describe the effects of 19th-century radicalization on 21st century US culture, but also to illuminate the radicalized residues of our own childhoods in our everyday adult lives.” Racial Innocence was awarded the 2012 Outstanding Book Award from the Association for Theatre in Higher Education, and the award committee noted that the book “is a historiographic tour de force that traces a genealogy of the invention of the innocent (white) child and its racialized roots in 19th and 20th century U.S. popular culture.”

    They view atheism as "amoral," heresy, and race betrayal. Historically, the Black Church was a leading force in the fight for racial justice. Today, many black religious leaders have aligned themselves with the Religious Right. While black communities suffer economically, the Black Church is socially conservative on women's rights, abortion, same sex marriage, and church/state separation. These religious "values wars" have further solidified institutional sexism and homophobia in black communities. Yet, drawing on a rich tradition of African American free thought, a growing number of progressive African American non-believers are openly questioning black religious and social orthodoxies. Moral Combat provides a provocative analysis of the political and religious battle for America's soul. It examines the hijacking of civil rights by Christian fascism; the humanist imperative of feminism and social justice; the connection between K-12 education and humanism; and the insidious backlash of Tea Party-style religious fundamentalism against progressive social welfare public policy. Moral Combat also reveals how atheists of color are challenging the whiteness of "New Atheism" and its singular emphasis on science at the expense of social and economic justice. In Moral Combat, Sikivu Hutchinson highlights the cultural influence of African American humanist and atheist social thought in America. She places this tradition within the broader context of public morality and offers a far-reaching vision for critically conscious humanism

    The difference is that it is a civilisation of one. The territory it springs from is my imagination...The relationship between my personal themes and obsessions and the vastness of world culture as represented in the British Museum is like a narrow pilgrimage trail across an infinite plain. Grayson Perry's centrepiece to this fascinating journey is a major artwork: a metal tomb in the form of a ship, encrusted with reliefs and artistic cargo based on, or actually cast from, objects in the collection of the British Museum. The occupant sails into the afterlife surrounded by the talismans of many faiths and people. This is a memorial to all the anonymous craftsmen that over the centuries have fashioned the man-made wonders of the world, many of which are on display in the Museum. Around the tomb, the other artworks - ceramics, tiles, cast metal sculpture, textiles and prints - are laid out in ritualistic symmetry as if they once belonged somewhere else. Alongside his own works, Grayson Perry presents a personal selection of objects from the British Museum that are the inspiration for his pieces or connected strongly with them thematically or aesthetically. Including an introduction by Grayson Perry and lavishly illustrated, this book takes us to the fantasy world of a contemporary artist who never fails to challenge and unsettle his audience.

    His stories are all delightful lessons in wisdom. Some teach us the value of honor while others tell us that might is not always right. We see a tiny rat outwitting a venomous serpent and then an old turtle saving his friends from a greedy eagle.

    This impassioned book starts with the crucial role of pedagogy in schools before extending the notion to the educational force of the wider culture. Giroux focuses on five crucial elements associated with critical pedagogy. First, he presents an overview of the term as it applies to schooling and to larger cultural spheres. Second, he analyzes the increasingly empirical orientation of teaching, focusing on the culture of positivism. Section Three examines some of the major economic, social, and political forces undermining the promise of democratic schooling in both public and higher education. Giroux then outlines increasing attempts by both right wing and liberal interests to reduce schooling to training and students merely to customers. Finally, the book focuses on the legacy of Paulo Freire and issues a fundamental challenge to educators, public intellectuals, and others who believe in the promise of a radical democracy.

    It goes back more than four decades to the heyday of the United Farm Workers, an organization that at its height won many labor victories, secured collective bargaining rights for California farm workers and became a major voice for the Latino community, which was previously excluded from national politics. The UFW was once a transformative political force of a kind now largely lost in contemporary America. Trampling Out the Vintage is the authoritative account of the rise and fall of the United Farm Workers and its most famous and controversial leader, Cesar Chavez. Based on many years of interviews—with farm workers, organizers, and the opponents and friends of the UFW—the book tells a story of collective action and empowerment rich in evocative detail and stirring human interest. Beginning with the influence of the ideas of Saul Alinsky and Catholic Social Action at the union’s founding, through the UFW’s thrilling triumphs in the California fields, the drama concludes with the debilitating internal struggles that left the union a shadow of its former self. A vivid rendering of farm work and the world of the farm worker, Trampling Out the Vintage is a dramatic reappraisal of the political trajectory of Cesar Chavez and the United Farm Workers and an essential re-evaluation of their most tumultuous years.

    This is the story Jodi Melamed tells in Represent and Destroy, portraying the postwar racial break as a transition from white supremacist modernity to a formally antiracist liberal capitalist modernity in which racial violence works normatively by policing representations of difference.Following the institutionalization of literature as a privileged domain for Americans to get to know difference—to describe, teach, and situate themselves with respect to race—Melamed focuses on literary studies as a cultural technology for transmitting liberal racial orders. She examines official antiracism in the United States and finds that these were key to ratifying the country’s global ascendancy. She shows how racial liberalism, liberal multiculturalism, and neoliberal multiculturalism made racism appear to be disappearing, even as they incorporated the assumptions of global capitalism into accepted notions of racial equality.Yet Represent and Destroy also recovers an anticapitalist “race radical” tradition that provides a materialist opposition to official antiracisms in the postwar United States—a literature that sounds out the violence of liberal racial orders, relinks racial inequality to material conditions, and compels desire for something better than U.S. multiculturalism.

    'Bomb Hunters' tells the story of the British army's elite team of bomb disposal experts, men who face death every day in the most dangerous region of the most lethal country on earth - Helmand Province in Afghanistan.

    In An Enemy We Created, Alex Strick van Linschoten and Felix Kuehn debunk this myth and reveal the much more complex reality that lies beneath it. Drawing upon their unprecedented fieldwork in Afghanistan, as well as their Arabic, Dari, and Pashtu skills, the authors show that the West's present entanglement in Afghanistan is predicated on the false assumption that defeating the Taliban will forestall further terrorist attacks worldwide. While immersing themselves in Kandahar society, the authors interviewed Taliban decision-makers, field commanders, and ordinary fighters, thoroughly exploring the complexity of the relationship between the Taliban and al-Qaeda and the individuals who established both groups. They show that from the mid-1990s onward, the Taliban and al-Qaeda diverged far more often than they converged. They also argue that this split creates an opportunity to engage the Taliban on two fundamental issues: renouncing al-Qaeda and guaranteeing that Afghanistan will not be a sanctuary for international terrorists. Yet the insurgency is changing, and it could soon be too late to find a political solution. The authors contend that certain aspects of the campaign in Afghanistan, especially night raids, the killings of innocent civilians, and attempts to fragment and decapitate the Taliban are having the unintended consequence of energizing the resistance, creating more opportunities for al-Qaeda, and helping it to attain its objectives. The first book to fully untangle the myths from the realities in the relationship between the Taliban and al-Qaeda, An Enemy We Created is essential reading for anyone who wants to understand what's really happening in Afghanistan.

    It uses research, life stories, and artistic expression—including essays, case studies, poetry, news clips, songs, fiction, memoirs, letters, interviews, short film scripts, and photographs—to examine dominant and deviant sexualities and investigate the intersections between sex, power, masculinities, and femininities. It also opens a space, particularly for young people, to think about African sexualities in different ways.

    Music for Silenced Voices looks at Shostakovich through the back door, as it were, of his fifteen quartets, the works which his widow characterized as a "diary, the story of his soul." The silences and the voices were of many kinds, including the political silencing of adventurous writers, artists, and musicians during the Stalin era; the lost voices of Shostakovich's operas (a form he abandoned just before turning to string quartets); and the death-silenced voices of his close friends, to whom he dedicated many of these chamber works.Wendy Lesser has constructed a fascinating narrative in which the fifteen quartets, considered one at a time in chronological order, lead the reader through the personal, political, and professional events that shaped Shostakovich's singular, emblematic twentieth-century life. Weaving together interviews with the composer's friends, family, and colleagues, as well as conversations with present-day musicians who have played the quartets, Lesser sheds new light on the man and the musician. One of the very few books about Shostakovich that is aimed at a general rather than an academic audience, Music for Silenced Voices is a pleasure to read; at the same time, it is rigorously faithful to the known facts in this notoriously complicated life. It will fill readers with the desire to hear the quartets, which are among the most compelling and emotionally powerful monuments of the past century's music.

    They are all 'debtors,' guilty and responsible in the eyes of capital, which has become the Great, the Universal, Creditor."—from The Making of the Indebted ManDebt—both public debt and private debt—has become a major concern of economic and political leaders. In The Making of the Indebted Man, Maurizio Lazzarato shows that, far from being a threat to the capitalist economy, debt lies at the very core of the neoliberal project. Through a reading of Karl Marx's lesser-known youthful writings on John Mill, and a rereading of writings by Friedrich Nietzsche, Gilles Deleuze, Félix Guattari, and Michel Foucault, Lazzarato demonstrates that debt is above all a political construction, and that the creditor/debtor relation is the fundamental social relation of Western societies.Debt cannot be reduced to a simple economic mechanism, for it is also a technique of “public safety” through which individual and collective subjectivities are governed and controlled. Its aim is to minimize the uncertainty of the time and behavior of the governed. We are forever sinking further into debt to the State, to private insurance, and, on a more general level, to corporations. To insure that we honor our debts, we are at once encouraged and compelled to become the “entrepreneurs” of our lives, of our “human capital.” In this way, our entire material, psychological, and affective horizon is upended and reconfigured.How do we extricate ourselves from this impossible situation? How do we escape the neoliberal condition of the indebted man? Lazzarato argues that we will have to recognize that there is no simple technical, economic, or financial solution. We must instead radically challenge the fundamental social relation structuring capitalism: the system of debt.

    In the chapbook he is made when a father dies. He is a kind of child idea, a child born into fiction,” Hinton says of her own creation within the narrative walls of I Don’t Respect Female Expression.Can men and women ever truly understand each other? At our best social moments we come to claim victory by only grasping at the patterns of our sexual opposites. In the grand scheme we stumble clueless. Hinton seeks to get past that, all the while enjoying the juxtaposition of female power and female powerlessness as they stand as a cage and weapon mixed together, a modern cocktail.

    Casting modernity as an ongoing contest between visuality and countervisuality, or “the right to look,” he explains how visuality sutures authority to power and renders the association natural. An early-nineteenth-century concept, meaning the visualization of history, visuality has been central to the legitimization of Western hegemony. Mirzoeff identifies three “complexes of visuality”—plantation slavery, imperialism, and the present-day military-industrial complex—and explains how, within each, power is made to seem self-evident through techniques of classification, separation, and aestheticization. At the same time, he shows how each complex of visuality has been countered—by the enslaved, the colonized, and opponents of war, all of whom assert autonomy from authority by claiming the right to look. Encompassing the Caribbean plantation and the Haitian revolution, anticolonialism in the South Pacific, antifascism in Italy and Algeria, and the contemporary global counterinsurgency, The Right to Look is a work of astonishing geographic, temporal, and conceptual reach.

    Photographer Iain McKell offers an extraordinary - and breathtakingly beautiful - glimpse into the lives of a real and raw group of present-day nomads whose culture is built around ideals of freedom, nature, and simplicity.

    Wouter Hanegraaff tells the neglected story of how intellectuals since the Renaissance have tried to come to terms with a cluster of 'pagan' ideas from late antiquity that challenged the foundations of biblical religion and Greek rationality. Expelled from the academy on the basis of Protestant and Enlightenment polemics, these traditions have come to be perceived as the Other by which academics define their identity to the present day. Hanegraaff grounds his discussion in a meticulous study of primary and secondary sources, taking the reader on an exciting intellectual voyage from the fifteenth century to the present day and asking what implications the forgotten history of exclusion has for established textbook narratives of religion, philosophy and science.

    Ford’s prose is scabrous and melancholic, incorporating theoretical shards from Guy Debord and Marc Augé, and mapping the transformations to the capital that the property boom and neoliberalist economics have wrought. Each zine is a drift, a wander through landscape that echoes certain strands of contemporary psychogeography. Ford—or a version of her, at least—is an occasional character, offering up narcotic memories of a forgotten metropolis. The images, hand-drawn, photographed and messily laid out, suggest both outtakes from a Sophie Calle project and the dust jacket of an early 1980s anarcho-punk compilation record: that is, both poetry and protest.”—Sukhdev Sandhu, New Statesman Savage Messiah collects the entire set of Laura Oldfield Ford’s fanzine to date. Part graphic novel, part artwork, the book is both an angry polemic against the marginalization of the city’s working class and an exploration of the cracks that open up in urban space.

    Over two volumes, Joachim Whaley rejects the notion that this was a long period of decline, and shows instead how imperial institutions developed in response to the crises of the sixteenth and seventeenth centuries, notably the Reformation and Thirty Years War. The impact of international developments on the Reich is also examined.The first volume begins with an account of the reforms of the reign of Maximilian I and concludes with the Peace of Westphalia in 1648. It offers a new interpretation of the Reformation, the Peasants' War, the Schmalkaldic War and the Peace of Augsburg, and of the post-Reformation development of Protestantism and Catholicism. The German policy successfully resisted the ambitions of Charles V and the repeated onslaughtsof both the Ottomans and the French, and it remained stable in the face of the French religious wars and the Dutch Revolt. The volume concludes with an analysis of the Thirty Years War as an essentially German constitutional conflict, triggered by the problems of the Habsburg dynasty and prolonged by the interventions of foreign powers. The Peace of Westphalia, which ended the conflict, both reflected the development of the German polity since the late fifteenth century and created teh framework for its development over the next hundred and fifty years.

    Designed to demonstrate the artists' abilities and to promote racial equality, the exhibition also revealed the art world's anxieties about the participation of African Americans in the exclusive venue of art museums—places where blacks had historically been barred from visiting let alone exhibiting. Since then, America's major art museums have served as crucial locations for African Americans to protest against their exclusion and attest to their contributions in the visual arts.In Exhibiting Blackness, art historian Bridget R. Cooks analyzes the curatorial strategies, challenges, and critical receptions of the most significant museum exhibitions of African American art. Tracing two dominant methodologies used to exhibit art by African Americans—an ethnographic approach that focuses more on artists than their art, and a recovery narrative aimed at correcting past omissions—Cooks exposes the issues involved in exhibiting cultural difference that continue to challenge art history, historiography, and American museum exhibition practices. By further examining the unequal and often contested relationship between African American artists, curators, and visitors, she provides insight into the complex role of art museums and their accountability to the cultures they represent.

    Some of the essays previously appeared in a collection published only in South Africa, Resident Alien, but others are collected here for the first time. The collection comprises twenty-three pieces; the title story investigates the provenance of the world famous song “The Lion Sleeps Tonight,” which Malan traces back to a Zulu singer named Solomon Linda who recorded a song called “Mbube” in the 1930s, which went on to be covered by Pete Seeger, REM, and Phish, and was incorporated into the musical “The Lion King.” In other stories, Malan follows the trial of Winnie Mandela and plunges into the explosive controversy over President Mbeki’s AIDS policies of the 1990s.The stories, combined with Malan’s sardonic interstitial commentary, offer a brilliantly observed portrait of contemporary South Africa.

    It lies in East Africa, set in a landscape of mountains and rivers - and the Blue Nile, which flows into the River Nile, rises here in Lake Tana. Our wildlife includes giraffes, elephants, zebras, crocodiles, hyenas, lions and all kinds of beautiful birds.The country is rich in history. It has an important place in both the Christian and Muslim religions, with all kinds of colourful festivals. Thousands of people visit our ancient churches and mosques every year.Ethiopian people follow many different traditions, make music in a variety of ways and speak several different languages. We love to dance, sing and have fun, especially on public holidays! Our food is spicy and delicious. The coffee bean originated in this country, and we hold a special coffee ceremony in which the aroma of roasted coffee, the incense we burn, and the pleasure of meeting each other all make for a unique experience.E is for Ethiopia is the latest in the wide-ranging photographic World Alphabet series. The text and photographs in this book are by a group of young photographers in Ethiopia whose work is supported by the UK aid agency CAFOD, the Catholic Agency for Overseas Development.

    This experiment in writing in extremis explores nuances of public shame, the vagaries of desire and rage, and Bellamy's confusion over the authenticity of group and individual spirituality. What is personal, what is public? In the electronic age, can anybody tell the difference? the buddhist celebrates marginalized subjectivity as enacted in the work of female artists from Bessie Smith to Eva Hesse and Carolee Schneeman, to Bhanu Kapil and Ariana Reines. The Allone Co. Edition contains the essence of the blog, as well as more extended narratives too explicit to post on line. Designed by Wayne Smith.

    Historically important and emotionally resonant, these characters appeal to every class of follower. Metaphorically and rhetorically powerful, they invite constant reimagining across time. Focusing on representations of the ghost and monk from the late eighteenth century to the present, Justin Thomas McDaniel builds a case for interpreting modern Thai Buddhist practice through the movements of these transformative figures. He follows embodiments of the ghost and monk in a variety of genres and media, including biography, film, television, drama, ritual, art, liturgy, and the Internet. Sourcing nuns, monks, laypeople, and royalty, he shows how relations with these figures have been instrumental in crafting histories and modernities. McDaniel is especially interested in local conceptions of being "Buddhist" and the formation and transmission of such identities across different venues and technologies. Establishing an individual's "religious repertoire" as a valid category of study, McDaniel explores the performance of Buddhist thought and ritual through practices of magic, prognostication, image production, sacred protection, and deity and ghost worship, and clarifies the meaning of multiple cultural configurations. Listening to popular Thai Buddhist ghost stories, visiting crowded shrines and temples, he finds concepts of attachment, love, wealth, beauty, entertainment, graciousness, security, and nationalism all spring from engagement with the ghost and the monk and are as vital to the making of Thai Buddhism as venerating the Buddha himself.

    Those lucky enough to find a home leave the kennels within a couple of days; those who do not are euthanized. In Animal Shelter Portraits, photographer Mark Ross turns an unflinching eye on the unfortunate animals stranded at kill shelters. Animal Shelter Portraits provides deeply compassionate and haunting portraits of our furred friends. Proceeds from the sale of this book will be donated to No Kill Advocacy Center, a national organization: www.nokilladvocacycenter.org.

    In choosing the selections, the editors sought to avoid representing the country only in terms of its long experience of conflict, racism, and violence. And so, while offering many perspectives on that violence, this anthology portrays Guatemala as a real place where people experience joys and sorrows that cannot be reduced to the contretemps of resistance and repression. It includes not only the opinions of politicians, activists, and scholars, but also poems, songs, plays, jokes, novels, short stories, recipes, art, and photographs that capture the diversity of everyday life in Guatemala. The editors introduce all of the selections, from the first piece, an excerpt from the Popol Vuh, a mid-sixteenth-century text believed to be the single most important source documenting pre-Hispanic Maya culture, through the final selections, which explore contemporary Guatemala in relation to neoliberalism, multiculturalism, and the dynamics of migration to the United States and of immigrant life. Many pieces were originally published in Spanish, and most of those appear in English for the first time.

    Together they made quite a team. Balarama's amazing strength and courage made dangerous demons like Dhenukasura and Pralamba look like weaklings. He even tamed the Yamuna river which had meandered away from Vrindavan and brought it back to the people who needed it.

    It may evoke the innocent play of childhood, or become a tool of ritual magic, able to negotiate with ghosts and gods. Puppets can be creepy things, secretive, inanimate while also full of spirit, alive with gesture and voice. In this eloquent book, Kenneth Gross contemplates the fascination of these unsettling objects—objects that are also actors and images of life.The poetry of the puppet is central here, whether in its blunt grotesquery or symbolic simplicity, and always in its talent for metamorphosis. On a meditative journey to seek the idiosyncratic shapes of puppets on stage, Gross looks at the anarchic Punch and Judy show, the sacred shadow theater of Bali, and experimental theaters in Europe and the United States, where puppets enact everything from Baroque opera and Shakespearean tragedy to Beckettian farce. Throughout, he interweaves accounts of the myriad faces of the puppet in literature—Collodi’s cruel, wooden Pinocchio, puppetlike characters in Kafka and Dickens, Rilke’s puppet-angels, the dark puppeteering of Philip Roth’s Micky Sabbath—as well as in the work of artists Joseph Cornell and Paul Klee. The puppet emerges here as a hungry creature, seducer and destroyer, demon and clown. It is a test of our experience of things, of the human and inhuman. A book about reseeing what we know, or what we think we know, Puppet evokes the startling power of puppets as mirrors of the uncanny in life and art.

    From the uproarious junior gods of Babylonian epics to crying infants heard over baby monitors, from doubly mythic Echo to amplifier feedback, from shouts frozen in Rabelaisian air to the squawk of loudspeakers and the static of shortwave radio, Making Noise follows "unwanted sound" on its surprisingly revealing path through terrains domestic and industrial, urban and rural, legal and religious, musical and medical, poetic and scientific. At every stage, readers can hear the cultural reverberations of the historical soundwork of actresses, admen, anthropologists, astronomers, builders, composers, dentists, economists, engineers, filmmakers, firemen, grammar school teachers, jailers, nurses, oceanographers, pastors, philosophers, poets, psychologists, and the writers of children's books.Drawing upon such diverse sources as the archives of antinoise activists and radio advertisers, catalogs of fireworks and dental drills, letters and daybooks of physicists and physicians, military manuals and training films, travel diaries and civil defense pamphlets, as well as museum collections of bells, ear trumpets, megaphones, sirens, stethoscopes, and street organs, Schwartz traces the process by which noise today has become as powerfully metaphorical as the original Babel.Endnotes and bibliography are not included in the physical book but are available online at the MIT Press Web site.

    Challenging characterizations of Darwin’s work as a form of genetic determinism, Grosz shows that his writing reveals an insistence on the difference between natural selection and sexual selection, the principles that regulate survival and attractiveness, respectively. Sexual selection complicates natural selection by introducing aesthetic factors and the expression of individual will, desire, or pleasure. Grosz explores how Darwin’s theory of sexual selection transforms philosophy, our understanding of humanity in its male and female forms, our ideas of political relations, and our concepts of art. Connecting the naturalist’s work to the writings of Bergson, Deleuze, and Irigaray, she outlines a postmodern Darwinism that understands all of life as forms of competing and coordinating modes of openness. Although feminists have been suspicious of the concepts of nature and biology central to Darwin’s work, Grosz proposes that his writings are a rich resource for developing a more politicized, radical, and far-reaching feminist understanding of matter, nature, biology, time, and becoming.

    Criminology Goes to the Movies connects with ways in which students are already thinking criminologically through engagements with popular culture, encouraging them to use the everyday world as a vehicle for theorizing and understanding both crime and perceptions of criminality. The first work to bring a systematic and sophisticated criminological perspective to bear on crime films, Rafter and Brown's book provides a fresh way of looking at cinema, using the concepts and analytical tools of criminology to uncover previously unnoticed meanings in film, ultimately making the study of criminological theory more engaging and effective for students while simultaneously demonstrating how theories of crime circulate in our mass-mediated worlds. The result is an illuminating new way of seeing movies and a delightful way of learning about criminology.

    It begins with the idea that the "popular" in classrooms and in the everyday lives of teachers and students is fundamentally political. This anthology includes outstanding articles by elementary and secondary public school teachers, scholars, and activists who examine how and what popular toys, books, films, music and other media "teach." These thoughtful essays offer strong critiques and practical teaching strategies for educators at every level.

    The nationalist and identity-based concepts of race underlying the mid-twentieth-century movements for decolonization and social change are not adequate to the tasks of critiquing the racial configurations generated by neocolonialism and contesting its inequities. Contemporary regimes of power produce racialized, gendered, and sexualized violence and labor exploitation, and they render subjects redundant and disposable by creating new, nominally nonracialized categories of privilege and stigma. The editors of Strange Affinities contend that the greatest potential for developing much-needed alternative comparative methods lies in women of color feminism, and the related intellectual tradition that Roderick A. Ferguson has called queer of color critique. Exemplified by the work of Audre Lorde, Cherríe Moraga, Barbara Smith, and the Combahee River Collective, these critiques do not presume homogeneity across racial or national groups. Instead, they offer powerful relational analyses of the racialized, gendered, and sexualized valuation and devaluation of human life.ContributorsVictor BascaraLisa Marie CachoM. Bianet Castellanos Martha Chew Sánchez Roderick A. FergusonGrace Kyungwon HongHelen H. JunKara Keeling Sanda Mayzaw Lwin Jodi Melamed Chandan Reddy Ruby C. TapiaCynthia Tolentino

    Breaking with past treatments that have framed the problem as one of "animal rights," the authors instead depict the exploitation and killing of other animals as a political question of the first order. The contributions highlight connections between our everyday treatment of animals and other forms of social power, mass violence, and domination, from capitalism and patriarchy to genocide, fascism, and ecocide. Contributors include well-known writers in the field as well as scholars in other areas writing on animals for the first time. Among other things, the authors apply Freud's theory of repression to our relationship to the animal, debunk the "Locavore" movement, expose the sexism of the animal defense movement, and point the way toward a new transformative politics that would encompass the human and animal alike.

    This candid memoir will make engrossing reading for both seasoned scholars and newcomers to gender studies. Cynthia Enloe, author of Nimo's War, Emma's War: Making Feminist Sense of the Iraq War For decades, feminist scholars, memoirists, and novelists have explored the lineaments of mother-daughter relationships, yet the world of fathers and sons has garnered relatively little attention. In his closely observed memoir, King of the Wild Suburb, noted Gender Studies scholar Michael Messner opens up the affective terrain between fathers and sons, and in the process deepens and complicates our understanding of masculinity. Alice Echols, author of Hot Stuff: Disco and the Remaking of American Culture Michael Messner's reflections on coming of age in the pivotal Sixties deftly captures the fault lines that separated so many young men and women from the lives of their parents and grandparents. It was, perhaps, easier for young women to rebel and choose careers over homemaking than it was for young men to opt out of a culture that made war, guns, and hunting the anchors of manhood. King of the Wild Suburb helps us understand how masculinity has changed, albeit still precariously, making it possible to maintain a fidelity to one's past while passing on to the next generation a freedom to explore new ways to be a man. Jan E. Dizard, author of Mortal Stakes: Hunters and Hunting in Contemporary America

    Celebrated law professor and author Kenji Yoshino delves into ten of the most important works of the Immortal Bard of Avon, offering prescient and thought-provoking discussions of lawyers, property rights, vengeance (legal and otherwise), and restitution that have tremendous significance to the defining events of our times—from the O.J. Simpson trial to Abu Ghraib. Anyone fascinated by important legal and social issues—as well as fans of Shakespeare-centered bestsellers like Will in the World—will find A Thousand Times More Fair an exceptionally rewarding reading experience.

    While not sure initially if she wanted to be the Star's "woman columnist," Michele tried to use her column as a voice for those who had none. The hundreds of letters that poured in - both those in support of what she was writing and those outraged by it - let her know that what she was doing not only mattered, it was badly needed. For twenty-five years, Michele Landsberg chronicled the lives of women, their struggles and their achievements. She became an activist in support of women's rights, childcare programs, education reform, rape crisis centres, women's work and health, and many more hotly debated issues. Her columns were a force for social and legal change - women turned to her because they knew that they could count on her to tell the real story. In Writing the Revolution, Michele takes the best of those 3000 columns and uses them to reflect on the past, present, and future of women's lives in Canada. While recognizing the success of the women's movement, she knows the fight is not over. A feminist hero and an unflinching activist, Michele is an inspiration to the women who read her column, and to a passionate new generation of women who are fighting to see that the revolution continues.

    Native people live in relation to all non-Natives amid the ongoing power relations of settler colonialism, despite never losing inherent claims to sovereignty as indigenous peoples. Explaining how relational distinctions of “Native” and “settler” define the status of being “queer,” Spaces between Us argues that modern queer subjects emerged among Natives and non-Natives by engaging the meaningful difference indigeneity makes within a settler society.Morgensen’s analysis exposes white settler colonialism as a primary condition for the development of modern queer politics in the United States. Bringing together historical and ethnographic cases, he shows how U.S. queer projects became non-Native and normatively white by comparatively examining the historical activism and critical theory of Native queer and Two-Spirit people.Presenting a “biopolitics of settler colonialism”—in which the imagined disappearance of indigeneity and sustained subjugation of all racialized peoples ensures a progressive future for white settlers—Spaces between Us newly demonstrates the interdependence of nation, race, gender, and sexuality and offers opportunities for resistance in the United States.

    Award-winning photographer Sara Hannant has travelled the length and breadth of the country, capturing the seemingly bizarre regional rituals – costumed processions, symbolic dramatizations, traditional dances and fire ceremonies – that mark the changing seasons. Many of these customs claim an ancient origin, and are kept alive today by local communities. Hannant’s vibrant photographs reflect her keen eye for the unexpected, offering a captivating and surprising surprising study of English identity.

    A lifelong gardener, Simonds works the soil and the soul for wide-ranging revelations about everything from flowers that keep time, to the strange gift of compost, to great gardens of the world, to things lost and found underground.She is joined on her journey by a host of companions — including her Beloved, who tills by her side; the Rosarian, who tends to both bud and thorn in roses and life; and the Frisarian, who weeds unwelcome visitors to make room for new growth. Intelligent and intimate, irreverent and elegant, A New Leaf offers a cornucopia of enrichment and inspiration for the fertile mind.

    He works the graveyard shift in the secret lodge."—Joan d'Arc, Paranoia magazineSecret societies—now a staple of bestseller novels—are pictured as sinister cults that use hooded albinos to menace truth-seekers. Some conspiracy books claim that fraternal orders are the work of serpentine aliens and interbred humans who wish to supplant earth of its energy, and later, its very existence.On the other side of the aisle, books by high-ranked Freemasons—skeptical in tone but no less partisan in approach—protect their organization's public image by denying the existence of its most contentious ideas.Ritual America reveals the biggest secret of them all: that the influence of fraternal brotherhoods on this country is vast, fundamental, and hidden in plain view. In the early twentieth century, as many as one-third of America belonged to a secret society. And though fezzes and tiny car parades are almost a thing of the past, the Gnostic beliefs of Masonic orders are now so much a part of the American mind that the surrounding pomp and circumstance has become faintly unnecessary.The authors of Ritual America contextualize hundreds of rare and many never-before printed images with entertaining and far-reaching commentary, making an esoteric subject provocative, exciting, and approachable.Adam Parfrey is the author of Cult Rapture: Revelations of the Apocalyptic Mind and It's a Man's World: Men's Adventure Magazines, the Postwar Pulps. He is editor of the influential Apocalypse Culture series Love, Sex, Fear Death: The Inside Story of the Process Church of the Final Judgment.Craig Heimbichner has recently appeared on a National Geographic documentary about the Bohemian Grove, contributed to the Feral House compilation Secret and Suppressed II, and wrote about the famous occult order the O.T.O. in Blood and Altar.

    This book takes its title from the first essay, a startlingly original interpretation of Proust. By way of Neoplatonism, Buddhism, and the work of Melanie Klein, Sedgwick establishes the sense of refreshment and surprise that the author of the Recherche affords his readers. Proust also figures in pieces on the poetry of C. P. Cavafy, object relations, affect theory, and Sedgwick’s textile art practices. More explicitly connected to her role as a pioneering queer theorist are an exuberant attack against reactionary refusals of the work of Guy Hocquenghem and talks in which she lays out her central ideas about sexuality and her concerns about the direction of US queer theory. Sedgwick lived for more than a dozen years with a diagnosis of terminal cancer; its implications informed her later writing and thinking, as well as her spiritual and artistic practices. In the book’s final and most personal essay, she reflects on the realization of her impending death. Featuring thirty-seven color images of her art, The Weather in Proust offers a comprehensive view of Sedgwick’s later work, underscoring its diversity and coherence.

    Povinelli explores how late liberal imaginaries of tense, eventfulness, and ethical substance make the global distribution of life and death, hope and harm, and endurance and exhaustion not merely sensible but also just. She presents new ways of conceptualizing formations of power in late liberalism—the shape that liberal governmentality has taken as it has responded to a series of legitimacy crises in the wake of anticolonial and new social movements and, more recently, the “clash of civilizations” after September 11. Based on longstanding ethnographic work in Australia and the United States, as well as critical readings of legal, academic, and activist texts, Povinelli examines how alternative social worlds and projects generate new possibilities of life in the context of ordinary and extraordinary acts of neglect and surveillance. She focuses particularly on social projects that have not yet achieved a concrete existence but persist at the threshold of possible existence. By addressing the question of the endurance, let alone the survival, of alternative forms of life, Povinelli opens new ethical and political questions.

    Ellis argues that throughout slavery, the Jim Crow era, and more recently in the proliferation of the prison industrial complex, the violent threat of death has functioned as a coercive disciplinary practice of social control over black men. In this provocative volume, Ellis delves into a variety of literary and cultural texts to consider unlawful and extralegal violence like lynching, mob violence, and "white riots," in addition to state violence such as state-sanctioned execution, the unregulated use of force by police and prison guards, state neglect or inaction, and denial of human and civil rights.Focusing primarily on young black men who are depicted or see themselves as "bad niggers," gangbangers, thugs, social outcasts, high school drop-outs, or prison inmates, Ellis looks at the self-affirming embrace of deathly violence and death-defiance-both imagined and lived-in a diverse body of cultural works. From Richard Wright's literary classic Native Son, Eldridge Cleaver's prison memoir Soul on Ice, and Nathan McCall's autobiography Makes Me Wanna Holler to the hip hop music of Eazy-E, Tupac Shakur, Notorious B.I.G., and D'Angelo, Ellis investigates black men's representational identifications with and attachments to death, violence, and death-defiance as a way of coping with and negotiating late-twentieth and early twenty-first century culture.Distinct from a sociological study of the material conditions that impact urban black life, If We Must Die investigates the many ways that those material conditions and lived experiences profoundly shape black male identity and self-image. African Amerian studies scholars and those interested in race in contemporary American culture will appreciate this thought-provoking volume.

    And every year, tens of thousands of them do it — they fight the summer battles of wildfire on the forests and grasslands of the West. Some die. Some have the times of their lives. And many forge lifelong friendships and collect the memories of a lifetime. This is the first book to vividly and honestly portray what it's really like — from the spine-chilling fear of a wildfire entrapment to the simple joys of a warm meal and a chilled soda. From the steep mountainsides of Idaho to the sweltering humidity of Florida, Ben Walters tells the stories of the fires he fought and the friends he made during his years as a wildland firefighter. FIRE CREW: Stories from the Fireline is the real thing, a must-read for anyone who's done it or wanted to.

    They take up issues of appropriation in the popular and the avant-garde, in altered billboards and the work of the renowned painter Chris Ofili, in hip-hop and the compositions of Béla Bartók and Zoltán Kodály, and in audio mash-ups, remixed news broadcasts, pranks, culture jamming, and numerous other cultural forms. The borrowing practices that they consider often run afoul of intellectual property regimes, and many of the contributors address the effects of copyright and trademark law on creativity. Among the contributors are the novelist and essayist Jonathan Lethem, the poet and cultural critic Joshua Clover, the filmmaker Craig Baldwin, the hip-hop historian Jeff Chang, the ’zine-maker and sound collage artist Lloyd Dunn, and Negativland, the infamous collective that was sued in 1991 for sampling U2 in a satirical sound collage. Cutting Across Media is both a serious examination of collage and appropriation practices and a celebration of their transformative political and cultural possibilities.ContributorsCraig BaldwinDavid BanashMarcus BoonJeff ChangJoshua CloverLorraine Morales CoxLloyd DunnPhilo T. FarnsworthPierre JorisDouglas KahnRudolf KuenzliRob LathamJonathan LethemCarrie McLarenKembrew McLeodNegativlandDavis SchneidermanDavid TetzlaffGábor VályiWarner Special ProductsEva Hemmungs Wirtén

    The Aborigines healed him and helped him discover his gift for healing others. Now, in this posthumous memoir and guide, author Dr. Gary Holz narrates his extraordinary true story.Diagnosed with chronic progressive multiple sclerosis, Holz was confined to a wheelchair and took a leap of faith traveling into Australia's far reaches to be treated with powerful, 40,000-year-old healing techniques. In Journey to the Heart at the tribe's request, Holz brings this knowledge to the Western world and reveals this secret medicine for the first time.Journey to the Heart provides a rare glimpse into the mystic life and philosophies of Outback Aborigines-one of the oldest cultures on the planet-and offers insights into an ancient system of healing that touches on physical, spiritual, and emotional wellness. This guide provides step-by-step techniques for healing the body, mind and spirit. Praise for Journey to the Heart"Gary's story inspires us to engage our own life more fully-to awaken our own inner capacity for well-being-no matter where we find ourselves."

    At the start of the nineteenth century, Arabs were unprepared for the social, economic and political progress made in Europe.By 1870, however, their vague notions had evolved into a fairly sophisticated knowledge of the historic background and contemporary achievements of various European nations. The new reform movements in Egypt and the Fertile Crescent had incorporated into their programs the ideological premises and political institutions of European Liberalism.Ibrahim Abu-Lughod’s pioneering work traces the role of the Arab intelligentsia in increasing Arab awareness of Europe and in shaping visions of Arab political futures. First published in 1963, it was hugely influential in instigating a detailed study of the Arab–European encounter in the nineteenth century using Arabic sources.

    The Earth says that God tells me to take care of the Indians on this earth; the Earth says to the Indians that stop on the Earth, feed them right. . . . God says feed the Indians upon the earth.” —Cayuse Chief Young Chief, Walla Walla Council of 1855 America has always been Indian land. Historically and culturally, Native Americans have had a strong appreciation for the land and what it offers. After continually struggling to hold on to their land and losing millions of acres, Native Americans still have a strong and ongoing relationship to their homelands. The land holds spiritual value and offers a way of life through fishing, farming, and hunting. It remains essential—not only for subsistence but also for cultural continuity—that Native Americans regain rights to land they were promised. Beth Rose Middleton examines new and innovative ideas concerning Native land conservancies, providing advice on land trusts, collaborations, and conservation groups. Increasingly, tribes are working to protect their access to culturally important lands by collaborating with Native and non- Native conservation movements. By using private conservation partnerships to reacquire lost land, tribes can ensure the health and sustainability of vital natural resources. In particular, tribal governments are using conservation easements and land trusts to reclaim rights to lost acreage. Through the use of these and other private conservation tools, tribes are able to protect or in some cases buy back the land that was never sold but rather was taken from them.Trust in the Land sets into motion a new wave of ideas concerning land conservation. This informative book will appeal to Native and non-Native individuals and organizations interested in protecting the land as well as environmentalists and government agencies.

    It was here, in the fourth millennium bc, that the world’s first city-states came into being, and with them many of the social, legal, and economic structures that we recognize today. Between 6000 bc and 1900 bc a number of different peoples—Sumerians, Akkadians, Gutians, Amorites, and Elamites—established dynasties in the region, power constantly shifting between them. Around 1800–1750 bc, however, the Amorite king Hammurabi unified Mesopotamia under the hegemony of Babylon. Although its power waxed and waned over the succeeding centuries, Babylon retained its importance as a cultural, religious, and political center until its fall to the Persians in 539 bc. Anton Gill tells the complete thousand-year story of the splendor that was ancient Babylon—the ‘gateway of the gods’. Beginning with a survey of the early Mesopotamian dynasties, he goes on to chronicle the city’s rise under Hammurabi, its troubled fortunes in the centuries that followed, its golden age under a dynasty of Chaldean kings in the seventh and sixth centuries bc, and the life of its last great king Nebuchadrezzar II.Ruling from c.605 until 562 bc, Nebuchadrezzar created a Neo-Babylonian empire that extended over much of the Levant, and presided over a magnificent flowering of culture, including the construction of the Hanging Gardens of Babylon. Anton Gill not only describes the political and military triumphs of Nebuchadrezzar’s reign but also explores its many achievements in the intellectual sphere—from art to mathematics, from economics to legal matters, and from astronomy to writing—as well as features of everyday life, from sex and shopping to food, drink, and customs. Studded with detailed profiles of the rulers of the period, and embellished with 130 color illustrations, maps, and timelines, The Rise and Fall of Babylon is a vivid and richly informative portrait of an extraordinary era.

    But beneath our nation's proprietary longing looms a troublesome question: what does it mean to own something? More simply: what is property?The question is at the heart of many contemporary controversies, including disputes over who owns everything from genetic material to indigenous culture to music and film on the Internet. To decide if and when genes or culture or digits are a kind of property that can be possessed, we must grapple with the nature of property itself. How does it originate? What purposes does it serve? Is it a natural right or one created by law?Accessible and mercifully free of legal jargon, American Property reveals the perpetual challenge of answering these questions, as new forms of property have emerged in response to technological and cultural change, and as ideas about the appropriate scope of government regulation have shifted. This first comprehensive history of property in the United States is a masterly guided tour through a contested human institution that touches all aspects of our lives and desires.Stuart Banner shows that property exists to serve a broad set of purposes, constantly in flux, that render the idea of property itself inconstant. Despite our ideals of ownership, property has always been a means toward other ends. What property signifies and what property is, we come to see, has consistently changed to match the world we want to acquire.

    These temporary labor recruitment systems represented a state-brokered compromise between employers who wanted foreign workers and those who feared rising numbers of immigrants. Unlike immigrants, guestworkers couldn't settle, bring their families, or become citizens, and they had few rights. Indeed, instead of creating a manageable form of migration, guestworker programs created an especially vulnerable class of labor.Based on a vast array of sources from U.S., Jamaican, and English archives, as well as interviews, No Man's Land tells the history of the American H2 program, the world's second oldest guestworker program. Since World War II, the H2 program has brought hundreds of thousands of mostly Jamaican men to the United States to do some of the nation's dirtiest and most dangerous farmwork for some of its biggest and most powerful agricultural corporations, companies that had the power to import and deport workers from abroad. Jamaican guestworkers occupied a no man's land between nations, protected neither by their home government nor by the United States. The workers complained, went on strike, and sued their employers in class action lawsuits, but their protests had little impact because they could be repatriated and replaced in a matter of hours.No Man's Land puts Jamaican guestworkers' experiences in the context of the global history of this fast-growing and perilous form of labor migration.

    In historical and theoretical accounts, it crystallizes the progressive politics that have shaped the academic study of race, gender, and sexuality. Yet few scholars have deliberated directly on the political agency that notions of justice confer on critical practice. In Object Lessons, Robyn Wiegman contemplates this lack of attention, offering the first sustained inquiry into the political desire that galvanizes identity fields. In each chapter, she examines a key debate by considering the political aspirations that shape it. Addressing Women's Studies, she traces the ways that "gender" promises to overcome the exclusions of "women." Turning to Ethnic Studies, she examines the deconstruction of "whiteness" as an antiracist methodology. As she explores American Studies, she links internationalization to the broader quest for noncomplicity in contemporary criticism. Her analysis of Queer Studies demonstrates how the commitment to antinormativity normalizes the field. In the penultimate chapter, Wiegman addresses intersectionality as the most coveted theoretical approach to political resolution in all of these fields.

    The book is located in debates about contemporary culture at a moment of rapid technological change, global interconnectedness and the growing cultural dominance of neoliberalism and postfeminism. The collection traverses disciplines, spaces and approaches. It is marked by an extraordinarily wide focus, ranging from analyses of celebrity magazines and makeover shows to examinations of the experiences of young female migrants, 'mail order brides' and young women who repudiate feminism. The contributions are united by their attempts to think through the ways in which experiences and representations of femininity are changing in the twenty-first century. Are we seeing new femininities? Are neoliberalism and postfeminism constructing new identities and subjectivities? What kinds of analytic tools and cultural politics are needed to critically engage with the current moment? This book will be of interest to everyone studying gender, media or cultural studies.

    In The Great Leap-Fraud, author A. J. Deus shows that only through the cowardly behavior of a majority that is uneducated in religious questions can sectarian extremism and terrorism take shape and overtake societies. Modern civilizations fail to address the dangerous defect.Based on a reassessment of primary documents from the beginning of Judaism through to the Reformation, The Great Leap-Fraud evaluates the Judaic scriptures of the Jews, the Christians, and the Muslims for their potential to stir hatred, violence, and terrorism. It searches for messages in the scriptures that may alter the economic behavior of societies.While providing an overview of three major religions-Judaism, Christianity, and Islam-The Great Leap-Fraud uncovers a series of frauds and premeditated deployment of "prophets" with the goal to establish or redeem the Jewish state of Israel. It also uncovers how the vested interest of Christian historians has pushed the rise of Christianity unto Roman Emperors. Deus shows that the way humans think and act are strongly influenced by a culture driven by the norms of religious organizations, both past and present.

    In this concise book, Jane Gallop revitalizes this hackneyed concept by considering not only the abstract theoretical death of the author but also the writer's literal death, as well as other authorial "deaths" such as obsolescence. Through bravura close readings of the influential literary theorists Roland Barthes, Jacques Derrida, Eve Kosofsky Sedgwick, and Gayatri Chakravorty Spivak, she shows that the death of the author is best understood as a relation to temporality, not only for the reader but especially for the writer. Gallop does not just approach the death of the author from the reader's perspective; she also reflects at length on how impending death haunts the writer. By connecting an author's theoretical, literal, and metaphoric deaths, she enables us to take a fuller measure of the moving and unsettling effects of the deaths of the author on readers and writers, and on reading and writing.

    In parallel case studies—of Japanese Americans mobilized to serve in the United States Army and of Koreans recruited or drafted into the Japanese military—T. Fujitani examines the U.S. and Japanese empires as they struggled to manage racialized populations while waging total war. Fujitani probes governmental policies and analyzes representations of these soldiers—on film, in literature, and in archival documents—to reveal how characteristics of racism, nationalism, capitalism, gender politics, and the family changed on both sides. He demonstrates that the United States and Japan became increasingly alike over the course of the war, perhaps most tellingly in their common attempts to disavow racism even as they reproduced it in new ways and forms.

    In Curious Visions of Modernity, David Martin unpacks a collection of artifacts from the visual and historical archives of modernity, finding in each a slippage of scientific rationality--a repressed heterogeneity within the homogenized structures of post-Enlightenment knowledge. In doing so, he exposes modernity and its visual culture as haunted by precisely those things that rationality sought to expunge from the "enlightened" world: enchantment, magic, and wonderment. Martin traces the genealogies of what he considers three of the most distinct and historically immediate fields of modern visual culture: the collection, the body, and the mapping of spaces. In a narrative resembling the many-drawered curiosity cabinets of the Renaissance rather than the locked glass cases of the modern museum, he shows us a world renewed through the act of collecting the wondrous and aberrant objects of Creation; tortured and broken flesh rising from the dissecting tables of anatomy theaters to stalk the discourses of medical knowledge; and the spilling forth of a pictorializing geometry from the gilt frames of Renaissance panel paintings to venerate a panoptic god. Accounting for the visual disenchantment of modernity, Martin offers a curious vision of its reenchantment.

    She is also among the most wide ranging, with books on Zionism, feminism, Sylvia Plath, children’s fiction, and psychoanalysis. During the past decade, through talks and pieces that Rose has contributed to the London Review of Books, the Guardian, and other publications, she has played a vital role in public debate about the policies and human-rights record of Israel in its relation to the Palestinians. Representing the entire spectrum of her writing, The Jacqueline Rose Reader brings together essays, reviews, and book excerpts, as well as an extract from her novel. In the introduction, the editors provide a profound overview of her intellectual trajectory, highlighting themes that unify her diverse work, particularly her commitment to psychoanalytic theory as a uniquely productive way of analyzing literature, culture, politics, and society. Including extensive critical commentary, and a candid interview with Rose, this anthology is an indispensable introduction for those unfamiliar with Jacqueline Rose’s remarkably original work, and an invaluable resource for those well acquainted with her critical acumen.

    Ever since, the image of this impenetrable barrier between East and West, imposed by communism, has been a central symbol of the Cold War.Based on vast research in untapped archival, oral, and private sources, Burned Bridge reveals the hidden origins of the Iron Curtain, presenting it in a startling new light. Historian Edith Sheffer's unprecedented, in-depth account focuses on Burned Bridge-the intersection between two sister cities, Sonneberg and Neustadt bei Coburg, Germany's largest divided population outside Berlin. Sheffer demonstrates that as Soviet and American forces occupied each city after the Second World War, townspeople who historically had much in common quickly formed opposing interests and identities. The border walled off irreconcilable realities: the differences of freedom and captivity, rich and poor, peace and bloodshed, and past and present. Sheffer describes how smuggling, kidnapping, rape, and killing in the early postwar years led citizens to demand greater border control on both sides--long before East Germany fortified its 1,393 kilometer border with West Germany. It was in fact the American military that built the first barriers at Burned Bridge, which preceded East Germany's borderland crackdown by many years. Indeed, Sheffer shows that the physical border between East and West was not simply imposed by Cold War superpowers, but was in some part an improvised outgrowth of an anxious postwar society.Ultimately, a wall of the mind shaped the wall on the ground. East and West Germans became part of, and helped perpetuate, the barriers that divided them. From the end of World War II through two decades of reunification, Sheffer traces divisions at Burned Bridge with sharp insight and compassion, presenting a stunning portrait of the Cold War on a human scale.

    This book provides an introduction to the concept of cultural memory, focusing on the "arts" of its construction, particularly various media such as writing, images, bodily practices, places, and monuments. Examining the period from the European Renaissance to the present, Aleida Assmann reveals the close association between cultural memory and the arts, arguing that the artists who have supplemented, criticized, transformed, and opposed it are its most lucid theorists and acute observers. Her analysis also addresses the interaction of cultural memory with individual memory and the ways in which cultural memory supports or subverts social and political identity constructions. Ultimately, this book offers a comprehensive overview of the history, forms, and functions of cultural memory, which has become a central analytical tool for scholars across disciplines.

    Dickens was not the only Londoner intrigued by these “living curiosities”: displayed foreign peoples provided some of the most popular public entertainments of their day. At first, such shows tended to be small-scale entrepreneurial speculations of just a single person or a small group. By the end of the century, performers were being imported by the hundreds and housed in purpose-built “native” villages for months at a time, delighting the crowds and allowing scientists and journalists the opportunity to reflect on racial difference, foreign policy, slavery, missionary work, and empire. Peoples on Parade provides the first substantial overview of these human exhibitions in nineteenth-century Britain. Sadiah Qureshi considers these shows in their entirety—their production, promotion, management, and performance—to understand why they proved so commercially successful, how they shaped performers’ lives, how they were interpreted by their audiences, and what kinds of lasting influence they may have had on notions of race and empire. Qureshi supports her analysis with diverse visual materials, including promotional ephemera, travel paintings, theatrical scenery, art prints, and photography, and thus contributes to the wider understanding of the relationship between science and visual culture in the nineteenth century. Through Qureshi’s vibrant telling and stunning images, readers will see how human exhibitions have left behind a lasting legacy both in the formation of early anthropological inquiry and in the creation of broader public attitudes toward racial difference.

    This book, the third volume in the K-Culture series intended to promote contemporary Korean culture overseas, introduces foreign audiences to Korean dramas.K-Drama and HallyuK-Drama: The Beginning of HallyuK-Drama Reaches into Asia and BeyondWhy K-Drama?The Appeal of K-DramaForeign Media Respond to K-DramaHistory of K-Drama1960s: The Age of Enlightenment1970s: Entering the Era of True Entertainment1980s: Portraits of a Modern Korea1990s: More Ideas, Better Results2000s to the Present: K-Drama Goes GlobalTop K-Dramas and StarsTop 10 K-DramasTop K-Drama StarsFrom Little Acorns

    He delivered this speech just three years after the Virginia Civil War Commission published a guide proclaiming that the Centennial is no time for finding fault or placing blame or fighting the issues all over again.David Blight takes his readers back to the centennial celebration to determine how Americans then made sense of the suffering, loss, and liberation that had wracked the United States a century earlier. Amid cold war politics and civil rights protest, four of America s most incisive writers explored the gulf between remembrance and reality. Robert Penn Warren, the southern-reared poet-novelist who recanted his support of segregation; Bruce Catton, the journalist and U.S. Navy officer who became a popular Civil War historian; Edmund Wilson, the century s preeminent literary critic; and James Baldwin, the searing African-American essayist and activist each exposed America s triumphalist memory of the war. And each, in his own way, demanded a reckoning with the tragic consequences it spawned.Blight illuminates not only mid-twentieth-century America s sense of itself but also the dynamic, ever-changing nature of Civil War memory. On the eve of the 150th anniversary of the war, we have an invaluable perspective on how this conflict continues to shape the country s political debates, national identity, and sense of purpose."

    Conservatives deride the War on Poverty for corruption and the creation of “poverty pimps,” and even liberals carefully distance themselves from it. Examining the long War on Poverty from the 1960s onward, this book makes a controversial argument that the programs were in many ways a success, reducing poverty rates and weaving a social safety net that has proven as enduring as programs that came out of the New Deal.The War on Poverty also transformed American politics from the grass roots up, mobilizing poor people across the nation. Blacks in crumbling cities, rural whites in Appalachia, Cherokees in Oklahoma, Puerto Ricans in the Bronx, migrant Mexican farmworkers, and Chinese immigrants from New York to California built social programs based on Johnson’s vision of a greater, more just society. Contributors to this volume chronicle these vibrant and largely unknown histories while not shying away from the flaws and failings of the movement—including inadequate funding, co-optation by local political elites, and blindness to the reality that mothers and their children made up most of the poor.In the twenty-first century, when one in seven Americans receives food stamps and community health centers are the largest primary care system in the nation, the War on Poverty is as relevant as ever. This book helps us to understand the turbulent era out of which it emerged and why it remains so controversial to this day.

    Many regard the movement as the antechamber of violent groups such as al-Qaeda, and as the by-product of a centralized foreign-policy platform shaped by so-called Saudi interests. Based on extensive research conducted throughout Yemen between 2001 and 2009, and particularly in the southern province of Y?fi', this book offers an original approach to Salafism and draws a necessary counter-narrative that takes into account the dynamics of the Salafi movement as well as its relationship to its evolving environment, either local, regional and international.Having studied over a hundred recorded sermons and conferences and dozens of books, and carried out interviews with numerous clerics, intellectuals and activists, Laurent Bonnefoy focuses on the allegedly apolitical Salafi doctrine promoted by the renowned Yemeni Salafi figure, Muqbil al-Wadi'i, who died in 2001. Building on IR theory and political sociology, he references the everyday practices of al-Wadi'i's dedicated followers, their rivalries as well as their own evolving trajectories. He demonstrates that, rather than resulting from specifically planned policies, Yemeni Salafism has, since the early 1980s, evolved through a series of spontaneous, grassroots mechanisms, many of which are shaped by transnational flows, that embed this movement in the complex Yemeni context.

    She is horrified when she realizes that the sparks are actually the eyes of the great Sage Chyavana. He is blinded and a blight descends upon the entire kingdom. There is respite only when Sukanya agrees to leave her father and her royal home to marry the sage and serve him faithfully.She remains faithful to Chyavana, eventually shaming even the heavenly twins, the Ashwini Kumaras.

    Today there are more than one billion pigs on the planet, and there are countless representations of pigs and piggishness throughout the world’s cultures.In Pig, Brett Mizelle provides a richly illustrated and compelling look at the long, complicated relationship between humans and these highly intelligent, sociable animals. Mizelle traces the natural and cultural history of the pig, focusing on the contradictions between our imaginative representation of pigs and the real-world truth of the ways in which pigs are prized for their meat, used as subjects in medical research, and killed in order to make hundreds of consumer products. Pig begins with the evolution of the suidae, animals that were domesticated in multiple regions 9,000 years ago, and points toward a future where pigs and humans are even more closely intertwined as a result of biomedical breakthroughs. Pig both examines the widespread art, entertainment, and literature that imagines human kinship with pigs and the development of modern industrial pork production.In charting how humans have shaped the pig and how the pig has shaped us, Mizelle focuses on the unresolved contradictions between the fiction and the reality of our relations with pigs.

    Focusing on the region humorists have referred to as "Lesser Los Angeles"--a global prototype for sprawl--Karen Tongson weaves through suburbia's "nowhere" spaces to survey our spatial imaginaries: the aesthetic, creative and popular materials of the new suburbia.Across southern California's freeways, beneath its overpasses and just beyond its winding cloverleaf interchanges, Tongson explores the improvisational archives of queer suburban sociability, from multimedia artist Lynne Chan's JJ Chinois projects and the amusement park night-clubs of 1980s Orange County to the imperial legacies of the region known as the Inland Empire. By taking a hard look at the cosmopolitanism historically considered de rigeur for queer subjects, while engaging with the so-called "New Suburbanism" that has captivated the national imaginary in everything from lifestyle trends to electoral politics, Relocations radically revises our sense of where to see and feel queer of color sociability, politics and desire.

    

    Following the work of American Fluxus founder George Maciunus, Fluxus and the Essential Questions of Life presents a variety of objects that express the Fluxus mission, while empowering readers to challenge the presumptions we bring to the concept and practice of art making.Based on a large-scale traveling exhibition first organized at Dartmouth College’s Hood Museum of Art, this book chronicles the movement in the form of an art self-help book, playfully providing answers to fourteen key questions such as “Art—what is it good for?” and “What am I?” via Fluxus works. Featuring over eighty color and black-and-white illustrations, accompanied by essays from curator Jacquelynn Baas, Fluxus scholars Hannah Higgins and Jacob Proctor, and Fluxus artist Ken Friedman, this book will make an original contribution to our understanding of this provocative moment in modern art.

    ?ivkovia? traces the recurring themes, scripts, and narratives that permeated public discourse in Milo?evia?'s Serbia, as Serbs described themselves as Gypsies or Jews, violent highlanders or peaceful lowlanders, and invoked their own mythologized defeat at the Battle of Kosovo. The author investigates national narratives, the use of tradition for political purposes, and local idioms, paying special attention to the often bizarre and outlandish tropes people employed to make sense of their social reality. He suggests that the enchantments of political life under Milo?evia? may be fruitfully seen as a dreambook of Serbian national imaginary.

    Chronicling these diasporas from the end of World War II to the present, Duany argues that each sending country's relationship to the United States shapes the transnational experience for each migrant group, from legal status and migratory patterns to work activities and the connections migrants retain with their home countries. Blending extensive ethnographic, archival, and survey research, Duany proposes that contemporary migration challenges the traditional concept of the nation-state. Increasing numbers of immigrants and their descendants lead what Duany calls bifocal lives, bridging two or more states, markets, languages, and cultures throughout their lives. Even as nations attempt to draw their boundaries more clearly, the ceaseless movement of transnational migrants, Duany argues, requires the rethinking of conventional equations between birthplace and residence, identity and citizenship, borders and boundaries.

    He has helped to make and remake the field over the last twenty-five years. So when he sets his alarm clock - and it goes off loudly - we all know it's time to pay attention. This extraordinary testament to what is right and wrong with cultural studies today will reverberate across the globe." Toby Miller , University of California This original, sharp and engaging book draws the reader into a compelling exploration of cultural studies in the twenty-first century.It offers a level-headed account of where cultural studies has come from, the methodological and theoretical dilemmas that it faces today and an agenda for its future development. In an age in which the relevance of cultural studies has been called into question, this book seeks to generate debate. Focusing upon the actual practice of cultural studies within the university today, it asks whether or not cultural studies has really managed to maintain a connection with its original political and ethical mission and comments on the strategies needed to regain the initiative.Written by a world class figure in cultural studies, each chapter supports and guides the reader by introducing the key issues, reviewing the relevant commentary and offering a critical conclusion of how each theme fits into a bigger picture.This timely and provocative consideration of cultural studies as a global discipline will be essential reading for academics and students working in the field for years to come.

    Searching for a way to continue their radical politics and to proselytize among their fellow inmates, these men circulated messages of hope and engagement via primitive means and sympathetic prisoners. On odd bits of paper, in German and in English, they shared their thoughts and feelings in a handwritten clandestine magazine called "Prison Blossoms." This extraordinary series of essays on anarchism and revolutionary deeds, of prison portraits and narratives of homosexuality among inmates, and utopian poems and fables of a new world to come not only exposed the brutal conditions in American prisons, where punishment cells and starvation diets reigned, but expressed a continuing faith in the "beautiful ideal" of communal anarchism.Most of the "Prison Blossoms" were smuggled out of the penitentiary to fellow comrades, including Emma Goldman, as the nucleus of an expos of prison conditions in America's Gilded Age. Those that survived relatively unrecognized for a century in an international archive are here transcribed, translated, edited, and published for the first time. Born at a unique historical moment, when European anarchism and American labor unrest converged, as each sought to repel the excesses of monopoly capitalism, these prison blossoms peer into the heart of political radicalism and its fervent hope of freedom from state and religious coercion.

    In Persian Miniatures, the story of the magnificent Persian Empire is told by way of artistic tradition on a small but vibrant scale. This unique collection of colorful miniatures from Persia in a convenient portable size will make the perfect gift.

    As she demonstrates, the resulting social dramas often play out on the bodies of women and African Americans. Holloway discusses the spectacle of the Terri Schiavo right-to-die case and the injustice of medical researchers’ use of Henrietta Lacks’s cell line without her or her family’s knowledge or permission. She offers a provocative reading of the Tuskegee syphilis study and a haunting account of the ethical dilemmas that confronted physicians, patients, and families when a hospital became a space for dying rather than healing during Hurricane Katrina; even at that dire moment, race mattered. Private Bodies, Public Texts is a compelling call for a cultural bioethics that attends to the historical and social factors that render some populations more vulnerable than others in medical and legal contexts. Holloway proposes literature as a conceptual anchor for discussions of race, gender, bioethics, and the right to privacy. Literary narratives can accommodate thick description, multiple subjectivities, contradiction, and complexity.

    Research into these phenomena has spanned the humanities and social sciences and the subcultural theories that underlie this work are similarly interdisciplinary. Subcultural Theory brings these diverse analytic issues together in a single text, offering readers a concise discussion of the major concepts and debates that have developed over more than eighty years of subcultural research, including style, resistance, deviance, identity, space, and media. The text emphasizes methods, concepts and analysis rather than mere descriptions of individual subcultures, all the while ensuring readers will gain insight into past and present youthful subcultures, including mod, punk, hardcore, straightedge, messenger, goth, riot grrrl, hip?hop, skinhead, and extreme metal, among others. The book closes with an assessment of the subculture concept as a viable and useful sociological tool in comparison with other fields of study including social movements and fandom.

    In addition to Glassco's readily available work, Brian Busby draws on pseudonymous writings published as a McGill student as well as unpublished and previously unknown poems, letters, and journal entries to detail a vibrant life while pulling back the curtain on Glassco's sexuality and unconventional tastes. In a lively account of a man given to deception, who took delight in hoaxes, Busby manages to substantiate many of the often unreliable statements Glassco made about his life and work. A Gentleman of Pleasure is a remarkable biography that captures the knowable truth about a fascinatingly complex and secretive man.

    Although there are a number of books that explain the religion and its philosophy, this work is the first in English to focus on sites where Shinto has been practiced since the dawn of Japanese history. In an extensive introductory section, authors Joseph Cali and John Dougill delve into the fascinating aspects of Shinto, clarifying its relationship with Buddhism as well as its customs, symbolism, and pilgrimage routes. This is followed by a fully illustrated guide to 57 major Shinto shrines throughout Japan, many of which have been designated World Heritage Sites or National Treasures. In each comprehensive entry, the authors highlight important spiritual and physical features of the individual shrines (architecture, design, and art), associated festivals, and enshrined gods. They note the prayers offered and, for travelers, the best times to visit. With over 125 color photographs and 50 detailed illustrations of archetypical Shinto objects and shrines, this volume will enthrall not only those interested in religion but also armchair travelers and visitors to Japan alike.Whether you are planning to visit the actual sites or take a virtual journey, this guide is the perfect companion.Visit Joseph Cali's Shinto Shrines of Japan: The Blog Guide: http: //shintoshrinesofjapanblogguide.blogspo....Visit John Dougill's Green Shinto, "dedicated to the promotion of an open, international and environmental Shinto" http: //www.greenshinto.com/wp/.

    This volume captures the excitement of green reading, reflects on its relationship to the modern academy, and provides practical guidance for dealing with global scale, interdisciplinarity, apathy and scepticism.

    Yeats.So dramatic and revolutionary was Yeats' impact on Irish literature that the writers and traditions that preceded him are often overlooked, just as his successors are often overshadowed by his achievement. In Words Alone, Roy Foster explores the Irish literary traditions that preceded Yeats, including romantic "national tales" in post-Union Ireland and Scotland, the nationalist poetry and polemic of the Young Ireland movement, the occult and supernatural fictions of Sheridan LeFanu, the "peasant fictions" of William Carleton, and the fairy-lore and folktale collections Yeats absorbed. As well as placing these nineteenth-century literary movements in a rich contemporary context of politics, polemic, and social tension, Foster discusses recent critical and interpretive approaches to these phenomena. But the unifying theme throughout the book is the self-conscious use Yeats made of his literary predecessors during his own apprenticeship, particularly in the construction of his path-breaking early work. T.S. Eliot famously observed that Yeats was "part of the consciousness of an age which cannot be understood without him," and Foster shows the many ways that Yeats both shaped and was shaped by the age in which he lived, despite his attempts to construct his own literary pedigree and present himself as entirely original.Returning to the rich seed-bed of nineteenth-century Irish writing, Words Alone draws out themes which had particular resonance for Yeats, offering a new interpretation of the influences surrounding the young poet as he began to "hammer his thoughts into a unity."

    Horse racing thrived because it was a high-status sport that attracted the interest of both old and new money. It grew because spectators enjoyed the pageantry, the exciting races, and, most of all, the gambling. As the sport became a national industry, the New York metropolitan area, along with the resort towns of Saratoga Springs (New York) and Long Branch (New Jersey), remained at the center of horse racing with the most outstanding race courses, the largest purses, and the finest thoroughbreds.Riess narrates the history of horse racing, detailing how and why New York became the national capital of the sport from the mid-1860s until the early twentieth century. The sport’s survival depended upon the racetrack being the nexus between politicians and organized crime. The powerful alliance between urban machine politics and track owners enabled racing in New York to flourish. Gambling, the heart of racing’s appeal, made the sport morally suspect. Yet democratic politicians protected the sport, helping to establish the State Racing Commission, the first state agency to regulate sport in the United States. At the same time, racetracks became a key connection between the underworld and Tammany Hall, enabling illegal poolrooms and off-course bookies to operate. Organized crime worked in close cooperation with machine politicians and local police officers to protect these illegal operations. In The Sport of Kings and the Kings of Crime, Riess fills a long-neglected gap in sports history, offering a richly detailed and fascinating chronicle of thoroughbred racing’s heyday.

    Grounded in the theoretical traditions of art history, A General Theory of Visual Culture argues that, in a fully consolidated visual culture, artifacts and pictures have been made to be seen in a certain way; what Davis calls visuality is the visual perspective from which certain culturally constituted aspects of artifacts and pictures are visible to informed viewers. In this book, Davis provides a systematic analysis of visuality and describes how it comes into being as a historical form of vision.Expansive in scope, A General Theory of Visual Culture draws on art history, aesthetics, the psychology of perception, the philosophy of reference, and vision science, as well as visual-cultural studies in history, sociology, and anthropology. It provides penetrating new definitions of form, style, and iconography, and draws important and sometimes surprising conclusions (for example, that vision does not always attain to visual culture, and that visual culture is not always wholly visible). The book uses examples from a variety of cultural traditions, from prehistory to the twentieth century, to support a theory designed to apply to all human traditions of making artifacts and pictures--that is, to visual culture as a worldwide phenomenon.

    It is packed full of stunning photographs from 25 different cosplay events, wi

    Diversity is carefully highlighted and coached into a viable commodity by judges, argues Katherine Meizel, with contestants packaged into familiar portraits of American identities. Consumer choice, as expressed by audience voting, also shapes the course of the show--negotiating ideas of democracy and opportunity closely associated with the American Dream. Through interviews with audience members and participants, and careful analyses of television broadcasts, commercial recordings, and print and online media, Meizel demonstrates that commercial music and the music industry are not simply forces to be criticized or resisted, but critical sites for redefining American culture.

    These women are “secret agent insiders” to cultural Whiteness who provide unique insights and perspectives that emerge through their mixed race lenses. Much of what the participants share is never revealed in mixed – White/of color – company. Although critical of racial power politics and hierarchies, these women were invested in cross-cultural connections and revealed key insights that can aid all in understanding how to better communicate across lines of cultural difference. This book is an invaluable resource for a wide range of activists, scholars and general readers, including sociologists, sociologists of education, feminists, anti-oppression/social justice scholars, critical multicultural educators, and qualitative researchers who are interested in mixed race issues, cross cultural communication, social justice work, or who simply wish to minimize racial conflict and other forms of oppression.

    Herskovits award (African Studies Association)Throughout southwestern Nigeria, Yoruba men and women create objects called aale to protect their properties--farms, gardens, market goods, firewood--from the ravages of thieves. Aale are objects of such unassuming appearance that a non-Yoruba viewer might not register their important presence in the Yoruba visual landscape: a dried seedpod tied with palm fronds to the trunk of a fruit tree, a burnt corncob suspended on a wire, an old shoe tied with a rag to a worn-out broom and broken comb, a ripe red pepper pierced with a single broom straw and set atop a pile of eggs. Consequently, aale have rarely been discussed in print, and then only as peripheral elements in studies devoted to other issues. Yet aale are in no way peripheral to Yoruba culture or aesthetics.In Vigilant Things, David T. Doris argues that aale are keys to understanding how images function in Yoruba social and cultural life. The humble, often degraded objects that comprise aale reveal as eloquently as any canonical artwork the channels of power that underlie the surfaces of the visible. Aale are warnings, intended to trigger the work of conscience. Aale objects symbolically threaten suffering as the consequence of transgression--the suffering of disease, loss, barrenness, paralysis, accident, madness, fruitless labor, or death--and as such are often the useless residues of things that were once positively valued: empty snail shells, shards of pottery, fragments of rusted iron, and the like. If these objects share "suffering" and "uselessness" as constitutive elements, it is because they already have been made to suffer and become useless. Aale offer would-be thieves an opportunity to recognize themselves in advance of their actions and to avoid the thievery that would make the "useless" people.

    In part 1, “Identity K/not/e/s,” she considers the America of the 1950s and early 1960s, when contentious and troubled alliances took shape between different marginalized communities and their respective but overlapping bohemias—Jews, African Americans, the Beats, and gays and lesbians. Using a rich trove of texts and artifacts—ranging from Gertrude Stein’s writings about her own Jewishness to transcripts from Lenny Bruce’s obscenity trial, Bob Kaufman’s Beat poetry—as well as her own stake in the material, Damon plumbs the complexities of social identity and expressive cultures to fascinating effect.      Always erudite but never effete, Damon then turns to more contemporary issues and broader topics of poetics: micropoetries, cyberpoetics, spoken-word poets, performance poets, and their communities. Echoing many of the themes of the first section of the book, including poetic identity and the troubled nature of the poetic “I,” part 2’s “Poetics for a Postliterary America” goes on to paint a wider picture, dwelling less on close readings of individual poems and more on asking questions about the nature of poetry itself and its role in community formation and individual survival. Discussions of counterperformance, kinetics, the Nuyoricans, Latino identity, and electronic poetics enliven this section.      Never reluctant to acknowledge the deeply personal origins of the work at hand, Damon cleaves to the subject matter, be it questions of identity, matters of poetry, or what it means to live in a postliterary culture. In doing so, she dares to ask what it means to be a member of the “shadow people”—those who occupy marginalized, nocturnal counterculture—creating verbal art.