As he rises into the sky he spreads light and warmth all over the world. The great Ganga king, Narasimha Rao, commissioned 1200 artisans to recreate this scene in stone. The Konark Sun Temple is a place where the lines between fact, fiction and folklore have blurred over time. Amar Chitra Katha interweaves the history of the 13th century monument with some of the mythology associated with it.

    Diversity is an ordinary even unremarkable feature of institutional life. And yet, diversity practitioners often experience institutions as resistant to their work, as captured through their use of the metaphor of the “brick wall.” On Being Included offers an explanation of this apparent paradox. It explores the gap between symbolic commitments to diversity and the experience of those who embody diversity. Commitments to diversity are understood as "non-performatives" that do not bring about what they name. The book provides an account of institutional whiteness and shows how racism can be obscured by the institutionalization of diversity. Diversity is used as evidence that institutions do not have a problem with racism. On Being Included offers a critique of what happens when diversity is offered as a solution. It also shows how diversity workers generate knowledge of institutions in attempting to transform them.

    Simple. Easy to read. Now in full color for its twenty-fifth edition, this world-renowned Bible handbook is treasured by generations of Bible readers for its clarity, insight, and usefulness. Halley’s Bible Handbook makes the Bible’s wisdom and message accessible. You will develop an appreciation for the cultural, religious, and geographic settings in which the story of the Bible unfolds. You will see how its different themes fit together in a remarkable way. And you will see the heart of God and the person of Jesus Christ revealed from Genesis to Revelation. Written for both mind and heart, this expanded edition of Halley’s Bible Handbook retains Dr. Halley’s highly personal style. It features brilliant maps, photographs, and illustrations; contemporary four-color design; Bible references in the easy-to-read, bestselling New International Version; practical Bible reading programs; helpful tips for Bible study; fascinating archaeological information; easy-to-understand sections on how we got the Bible and on church history; and improved indexes.

    They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.Ngai explores how each of these aesthetic categories expresses conflicting feelings that connect to the ways in which postmodern subjects work, exchange, and consume. As a style of performing that takes the form of affective labor, the zany is bound up with production and engages our playfulness and our sense of desperation. The interesting is tied to the circulation of discourse and inspires interest but also boredom. The cute’s involvement with consumption brings out feelings of tenderness and aggression simultaneously. At the deepest level, Ngai argues, these equivocal categories are about our complex relationship to performing, information, and commodities.Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman’s poetry to Ed Ruscha’s photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity’s only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.

    inform this lyrical blend of memoir, cultural commentary, and spiritual call to arms. The Unlikely Peace at Cuchumaquic is both an epic story and a cry to the heart of humanity based on the author’s realization that human survival depends on keeping alive the seeds of our “original forgotten spiritual excellence.”   Prechtel relates our current state of ecological crisis to the rapid disappearance of biodiversity, indigenous cultures, and shared human values. He demonstrates how real human culture is exterminated when real (not genetically modified) seeds are lost. Like plants that become extinct once their required conditions are no longer met, authentic, unmonetized human cultures can no longer survive in the modern world. To “keep the seeds alive”—both literally and metaphorically—they must be planted, harvested, and replanted, just as human culture must become truly engaging and meaningful to the soul, as necessary as food is to the body. The viable seeds of spirituality and culture that lie dormant within us need to “sprout” into broad daylight to create real sets of cultures welcome on Earth.

    A compelling, challenging, and sometimes uproarious look at how the world and the church intersect.Like Luther before him, Trueman understands the power of humor because he understands the absurdity of human self-regard in the context of the fallen world. And like Luther, Trueman shows no mercy, either to his enemies or to himself. His writings are an oasis of welcome wit in what can so often seem like a desert of Protestant pomposity.

    Lisa Marie Cacho forcefully argues that the demands for personhood for those who, in the eyes of society, have little value, depend on capitalist and heteropatriarchal measures of worth.With poignant case studies, Cacho illustrates that our very understanding of personhood is premised upon the unchallenged devaluation of criminalized populations of color. Hence, the reliance of rights-based politics on notions of who is and is not a deserving member of society inadvertently replicates the logic that creates and normalizes states of social and literal death. Her understanding of inalienable rights and personhood provides us the much-needed comparative analytical and ethical tools to understand the racialized and nationalized tensions between racial groups. Driven by a radical, relentless critique, Social Death challenges us to imagine a heretofore "unthinkable" politics and ethics that do not rest on neoliberal arguments about worth, but rather emerge from the insurgent experiences of those negated persons who do not live by the norms that determine the productive, patriotic, law abiding, and family-oriented subject.

    Truman Capote, the enfant terrible, whose finely wrought fiction and nonfiction captured the nation's imagination. Gore Vidal, the wry, withering chronicler of politics, sex, and history. Tennessee Williams, whose powerful plays rocketed him to the top of the American theater. James Baldwin, the harrowingly perceptive novelist and social critic. Christopher Isherwood, the English novelist who became a thoroughly American novelist. And the exuberant Allen Ginsberg, whose poetry defied censorship and exploded minds. Together, their writing introduced America to gay experience and sensibility, and changed our literary culture. But the change was only beginning. A new generation of gay writers followed, taking more risks and writing about their sexuality more openly. Edward Albee brought his prickly iconoclasm to the American theater. Edmund White laid bare his own life in stylized, autobiographical works. Armistead Maupin wove a rich tapestry of the counterculture, queer and straight. Mart Crowley brought gay men's lives out of the closet and onto the stage. And Tony Kushner took them beyond the stage, to the center of American ideas. With authority and humor, Christopher Bram weaves these men's ambitions, affairs, feuds, loves, and appetites into a single sweeping narrative. Chronicling over fifty years of momentous change-from civil rights to Stonewall to AIDS and beyond. Eminent Outlaws is an inspiring, illuminating tale: one that reveals how the lives of these men are crucial to understanding the social and cultural history of the American twentieth century.

    Goode" affixed to the Voyager spacecraft, Let Me Clear My Throat dissects the whys and hows of popular voices, making them hum with significance and emotion. There are murders of punk rock crows, impressionists, and rebel yells; Howard Dean's "BYAH!" and Marlon Brando's "Stella!" and a stock film yawp that has made cameos in movies from A Star is Born to Spaceballs. The voice is thought's incarnating instrument and Elena Passarello's essays are a riotous deconstruction of the ways the sounds we make both express and shape who we are—the annotated soundtrack of us giving voice to ourselves.Elena Passarello is an actor and writer originally from Charleston, South Carolina. She studied nonfiction at the University of Pittsburgh and the University of Iowa, and her essays have appeared in Creative Nonfiction, Gulf Coast, Slate, Iowa Review, The Normal School, Literary Bird Journal, Ninth Letter, and in the music writing anthology Pop Till the World Falls Apart. She has performed in several regional theaters in the East and Midwest, originating roles in the premieres of Christopher Durang's Mrs. Bob Cratchit's Wild Christmas Binge and David Turkel's Wild Signs and Holler. In 2011 she became the first woman winner of the annual Stella Screaming Contest in New Orleans.

    Written in an entertaining, educational and assessible style, this biography is an accurate and well-researched portrayal of the man.

    We search for "The One," but find ourselves staying single because nobody measures up. The reality of our relationships is not what we expected, and it becomes hard to balance it with all the other things that we want out of life. At the same time that marriage shows itself to be the one 'recession proof' industry; the rates of separation and break-up soar ever higher.Rewriting the Rules is a friendly guide through the complicated - and often contradictory - rules of love: the advice that is given about attraction and sex, monogamy and conflict, gender and commitment. It asks questions such as: which to choose from all the rules on offer? Do we stick to the old rules we learnt growing up, or do we try something new and risk being out on our own?This book considers how the rules are being 'rewritten' in various ways, for example the 'new monogamy', alternative commitment ceremonies, different ways of understanding gender, and new ideas for managing conflict and break-up where economics and child-care make complete separation a problem. In this way Rewriting the Rules gives the power to the reader to find the approach which fits their situation.

    From the films Precious and Crash to recent biographies of Malcolm X and Henrietta Lacks, hooks offers provocative insights into the way race is being talked about in this "post-racial" era.

    The Kyoto Costume Institute recognizes the importance of understanding clothing sociologically, historically, and artistically. Founded in 1978, the KCI holds one of the world's most extensive clothing collections and has curated many exhibitions worldwide. With an emphasis on Western women's clothing, the KCI has amassed a wide range of 20th century historical garments, underwear, shoes, and fashion accessories. Showcasing a vast selection from the Institute's archives of skilled photographs depicting the clothing expertly displayed and arranged on custom-made mannequins, Fashion is a fascinating excursion through a century of clothing trends. The KCI believes that "clothing is an essential manifestation of our very being" and their passion and dedication positively radiate from every page of this book.

    In 1977 he was imprisoned after his most controversial work, "Ngaahika Ndeenda" ( "I Will Marry When I Want"), produced in Nairobi, sharply criticized the injustices of Kenyan society and unequivocally championed the causes of ordinary citizens. Following his release, Ngugi decided to write only in his native Gikuyu, communicating with Kenyans in one of the many languages of their daily lives, and today he is known as one of the most outspoken intellectuals working in postcolonial theory and the global postcolonial movement.In this volume, Ngugi wa Thiong'o summarizes and develops a cross-section of the issues he has grappled with in his work, which deploys a strategy of imagery, language, folklore, and character to "decolonize the mind." Ngugi confronts the politics of language in African writing; the problem of linguistic imperialism and literature's ability to resist it; the difficult balance between orality, or "orature," and writing, or "literature"; the tension between national and world literature; and the role of the literary curriculum in both reaffirming and undermining the dominance of the Western canon. Throughout, he engages a range of philosophers and theorists writing on power and postcolonial creativity, including Hegel, Marx, L?vi-Strauss, and Aim? C?saire. Yet his explorations remain grounded in his own experiences with literature (and orature) and reworks the difficult dialectics of theory into richly evocative prose.

    An experimental, violent prison unit. The death of an American city, as seen through a complex police investigation. A lawless frontier town trying to talk its way into the United States. A corrupt cop who rules his precinct like a warlord. The survivors of a plane crash trying to make sense of their disturbing new island home. A high school girl by day, monster fighter by night. A spy who never sleeps. A space odyssey inspired by 9/11. An embattled high school football coach. A polished ad exec with a secret. A chemistry teacher turned drug lord.These are the subjects of 12 shows that started a revolution in TV drama: The Sopranos. Oz. The Wire. Deadwood. The Shield. Lost. Buffy the Vampire Slayer. 24. Battlestar Galactica. Friday Night Lights. Mad Men. Breaking Bad.These 12 shows, and the many more they made possible, ushered in a new golden age of television — one that made people take the medium more seriously than ever before. Alan Sepinwall became a TV critic right before this creative revolution began, was there to chronicle this incredible moment in pop culture history, and along the way “changed the nature of television criticism,” according to Slate. The Revolution Was Televised is the story of these 12 shows, as told by Sepinwall and the people who made them, including David Chase, David Simon, David Milch, Damon Lindelof and Carlton Cuse, Vince Gilligan and more.

    Wade Supreme Court decision, the abortion debate has been highly charged and politicized. Questions like these—and passionate but widely varying answers—have become the common language of the public dialogue on this issue. Yet behind the scenes of this historic case are other intriguing questions:·       How did the Supreme Court come to be involved in the abortion debate?·       Was language manipulated to affect the outcome?·       What was the moral basis underlying the decision?In Compelling Interest, author Roger Resler draws on original sources, including the actual transcripts for oral arguments, the majority and minority opinions, and comments by the lawyers and others involved to take a careful look at the real story behind the historic Roe v. Wade decision.Resler includes conversations with experts, including sociology professor Dr. William Brennan, the late Dr. Mildred Jefferson and Dr. Carolyn Gerster who co-founded the National Right to Life Committee, prolific author and speaker Randy Alcorn, bioethics professor Dr. Gerard Magill, perinatologist Dr. James Thorp, and photojournalist Michael Clancy.This carefully researched book speaks with a thought-provoking, balanced voice that stands out from the usual partisan rhetoric on the topic.

    Masih put out a call for Intercultural Essays dealing with the subjects of "culture, race, and a sense of place." The prizewinners are gathered for the first time in a ground-breaking anthology that explores many facets of culture not previously found under one cover. The powerful, honest, thoughtful voices-Native American, African American, Asian, European, Jewish, White-speak daringly on topics not often discussed in the open, on subjects such as racism, war, self-identity, gender, societal expectations. Their words will entertain, illuminate, take you to distant lands, and spark important discussions about our humanity, our culture, and our place within society and the natural world. A TEACHING TOLERANCE Staff Pick Fall 2013"This collection of essays provides a lens into intercultural experiences that will offer important insights for teachers as well as students...and can lead to a greater understanding of and appreciation for our global community." - Dr. Zaline M. Roy-Campbell, Associate Professor and Coordinator of the Program in Teaching English Language Learners, Syracuse University "This contemporary collection of essays will be an invaluable resource. I'm especially impressed by the range of themes..." - Mary McLaughlin Slechta, ESL instructor, Nottingham High School

    Drawn to the Oulipo's mystique, Levin Becker secured a Fulbright grant to study the organization and traveled to Paris. He was eventually offered membership, becoming only the second American to be admitted to the group. From the perspective of a young initiate, the Oulipians and their projects are at once bizarre and utterly compelling. Levin Becker s love for games, puzzles, and language play is infectious, calling to mind Elif Batuman's delight in Russian literature in "The Possessed."In recent years, the Oulipo has inspired the creation of numerous other collectives: the OuMuPo (a collective of DJs), the OuMaPo (marionette players), the OuBaPo (comic strip artists), the OuFlarfPo (poets who generate poetry with the aid of search engines), and a menagerie of other Ou-X-Pos (workshops for potential "something"). Levin Becker discusses these and other intriguing developments in this history and personal appreciation of an iconic and iconoclastic group.

    Mahmood Mamdani explores how lines were drawn between settler and native as distinct political identities, and between natives according to tribe. Out of that colonial experience issued a modern language of pluralism and difference.A mid-nineteenth-century crisis of empire attracted the attention of British intellectuals and led to a reconception of the colonial mission, and to reforms in India, British Malaya, and the Dutch East Indies. The new politics, inspired by Sir Henry Maine, established that natives were bound by geography and custom, rather than history and law, and made this the basis of administrative practice.Maine’s theories were later translated into “native administration” in the African colonies. Mamdani takes the case of Sudan to demonstrate how colonial law established tribal identity as the basis for determining access to land and political power, and follows this law’s legacy to contemporary Darfur. He considers the intellectual and political dimensions of African movements toward decolonization by focusing on two key figures: the Nigerian historian Yusuf Bala Usman, who argued for an alternative to colonial historiography, and Tanzania’s first president, Mwalimu Julius Nyerere, who realized that colonialism’s political logic was legal and administrative, not military, and could be dismantled through nonviolent reforms.

    Though Tamil literature had a rich heritage of poetry and prose, it surprisingly had no plays till Sundaram Pillai, a great admirer of Shakespeare, first introduced it as a literary form. Manonmani is the story of a princess who finds love in the middle of a web of political intrigue and betrayals.

    After an introduction to Issa's poetry and life, the translator, David G. Lanoue, presents 1,210 haiku culled from his on-line archive of 10,000. Lanoue writes, "Issa is a poet who speaks to our common humanity in a way that is so honest, so contemporary, his verses might have been written this morning. Bashô is the most revered of the haiku poets of Old Japan, but Issa is the most loved."

    well researched, comprehensive and engaging, Haitian vodou will be a welcome addition for people new to haitian spirituality as well as for students,practitioners, and acedemics.

    Moving from gospel to soul, funk to freestyle, Young sifts through the shadows, the bootleg, the remix, the grey areas of our history, literature, and music.

    Bringing together critiques of liberalism with postcolonial approaches to the modern cartography of progress, Nguyen proposes "the gift of freedom" as the name for those forces that avow to reverence aliveness and beauty, and to govern an enlightened humanity, while producing new subjects and actions—such as a grateful refugee, or enduring war—in an age of liberal empire. From the Cold War to the global war on terror, the United States simultaneously promises the gift of freedom through war and violence and administers the debt that follows. Focusing here on the figure of the Vietnamese refugee as the twice-over target of the gift of freedom—first through war, second through refuge—Nguyen suggests that the imposition of debt precludes the subjects of freedom from escaping those colonial histories that deemed them "unfree." To receive the gift of freedom then is to be indebted to empire, perhaps without end.

    In Ghana and South Africa, drummer Guy Warren and vocalist Sathima Bea Benjamin fused local musical forms with the dizzying innovations of modern jazz. These four were among hundreds of musicians in the 1950s and ’60s who forged connections between jazz and Africa that definitively reshaped both their music and the world.Each artist identified in particular ways with Africa’s struggle for liberation and made music dedicated to, or inspired by, demands for independence and self-determination. That music was the wild, boundary-breaking exultation of modern jazz. The result was an abundance of conversation, collaboration, and tension between African and African American musicians during the era of decolonization. This collective biography demonstrates how modern Africa reshaped jazz, how modern jazz helped form a new African identity, and how musical convergences and crossings altered politics and culture on both continents.In a crucial moment when freedom electrified the African diaspora, these black artists sought one another out to create new modes of expression. Documenting individuals and places, from Lagos to Chicago, from New York to Cape Town, Robin Kelley gives us a meditation on modernity: we see innovation not as an imposition from the West but rather as indigenous, multilingual, and messy, the result of innumerable exchanges across a breadth of cultures.

    

    Chen draws on recent debates about sexuality, race, and affect to examine how matter that is considered insensate, immobile, or deathly, animates cultural lives. Toward that end, Chen investigates the blurry division between the living and the dead, or that which is beyond the human or animal. Within the field of linguistics, animacy has been described variously as a quality of agency, awareness, mobility, sentience, or liveness. Chen turns to cognitive linguistics to stress how language habitually differentiates the animate and the inanimate. Expanding this construct, Chen argues that animacy undergirds much that is pressing and indeed volatile in contemporary culture, from animal rights debates to biosecurity concerns.Chen's book is the first to bring the concept of animacy together with queer of color scholarship, critical animal studies, and disability theory. Through analyses of dehumanizing insults, the meanings of queerness, animal protagonists in recent Asian/American art and film, the lead toy panic in 2007, and the social lives of environmental illness, Animacies illuminates a hierarchical politics infused by race, sexuality, and ability. In this groundbreaking book, Chen rethinks the criteria governing agency and receptivity, health and toxicity, productivity and stillness—and demonstrates how attention to the affective charge of matter challenges commonsense orderings of the world.Mel Y. Chen is Assistant Professor of Gender and Women's Studies at the University of California, Berkeley."Animacies is a book about 'reworldings,' as Mel Y. Chen traces the myriad ways that objects and affects move through and reshape zones of possibility for political transformation and queer resistance to neoliberal biopolitics. At the same time, Animacies itself generates such transformations: grounded in a generous, expansive understanding of queer of color and disability/crip critique, Chen's study reworlds or reorients disability studies, gender and sexuality studies, critical race theory, animal studies, affect studies, and linguistics. In all of these critical spaces, Animacies might be described as the breathtaking and revivifying book we have been waiting for."—Robert McRuer, author of Crip Theory: Cultural Signs of Queerness and Disability"This ambitious transdisciplinary analysis of the relations between humans, nonhuman animals, and matter charts a compelling and innovative rethinking of the biopolitics of 'animacy.' Mel Y. Chen animates animacy, a concept of sentience hierarchy derived in linguistics, to offer a far-ranging critique that implicates disability studies, queer of color critique, and postcolonial theory. The generative result is a timely and crucial intervention that foregrounds the oft-occluded import of race and sex in the rapidly growing fields of posthumanist theory, new materialisms, and animal studies."—Jasbir K. Puar, author of Terrorist Assemblages: Homonationalism in Queer Times

    Author Susan M. Vogel, who worked closely with Anatsui while directing a documentary film about the artist, offers a uniquely personal perspective on Anatsui and provides the first penetrating study of his artworks. Accompanied by nearly 150 images, this book traces his lifelong exploration of media leading up to the bottle top art form that has captured the interest of the global art world. The book explores the artist's themes of loss, chaos, and decay, his Nigerian University intellectual community, and his creative studio practice. Vogel traces the intertwined threads of Anatsui's ideas, life, and art, from his youthful searching and desire to express Africa's history to today's work that can be immense and ethereal.

    It documents 115 little-known sites in the City of Angels where struggles related to race, class, gender, and sexuality have occurred. They introduce us to people and events usually ignored by mainstream media and, in the process, create a fresh history of Los Angeles. Roughly dividing the city into six regions—North Los Angeles, the Eastside and San Gabriel Valley, South Los Angeles, Long Beach and the Harbor, the Westside, and the San Fernando Valley—this illuminating guide shows how power operates in the shaping of places, and how it remains embedded in the landscape.

    Abdur-Rahman interrogates and challenges cultural theorists' interpretations of sexual transgression in African American literature. She argues that, from the mid-nineteenth century through the twentieth, black writers used depictions of erotic transgression to contest popular theories of identity, pathology, national belonging, and racial difference in American culture. Connecting metaphors of sexual transgression to specific historical periods, Abdur-Rahman explains how tropes such as sadomasochism and incest illuminated the psychodynamics of particular racial injuries and suggested forms of social repair and political redress from the time of slavery, through post-Reconstruction and the civil rights and black power movements, to the late twentieth century.Abdur-Rahman brings black feminist, psychoanalytic, critical race, and poststructuralist theories to bear on literary genres from slave narratives to science fiction. Analyzing works by African American writers, including Frederick Douglass, Pauline Hopkins, Harriet Jacobs, James Baldwin, and Octavia Butler, she shows how literary representations of transgressive sexuality expressed the longings of African Americans for individual and collective freedom. Abdur-Rahman contends that those representations were fundamental to the development of African American forms of literary expression and modes of political intervention and cultural self-fashioning.Aliyyah I. Abdur-Rahman is Assistant Professor of English at Brandeis University."Against the Closet is an important and much-needed book, a significant contribution to African American literature, cultural studies, sexuality studies, and critical race theory. Aliyyah I. Abdur-Rahman's close readings of fictional representations of race and sex are nuanced and illuminating, and the history of racial thought and sexual science that she presents is indispensable."—Maurice O. Wallace, author of Constructing the Black Masculine: Identity and Ideality in African American Men’s Literature and Culture, 1775–1995"In this significant and timely text, Aliyyah I. Abdur-Rahman complicates and expands our understanding of the queerness of blackness, making a welcome contribution to black cultural studies, black queer studies, literary studies, and work on lynching and the making of post-slavery whiteness."—Christina Sharpe, author of Monstrous Intimacies: Making Post-Slavery Subjects

    

    Using the subtle categories that arise from biblical narrative, Between Babel and Beast analyzes how the heresy of Americanism inspired America's rise to hegemony while blinding American Christians to our failures and abuses of power. The book demonstrates that the church best serves the genuine good of the United States by training witnesses—martyr-citizens of God's Abrahamic empire.

    A comical memoir about a klutz's sex change, Bumbling into Body Hair shows how a sense of humor - and true love - can triumph over hair disasters, resurrected breasts, and even the most crippling self-doubt.

    "They become home to us, tell us who we are, who we want to be. Over the years, they take on more and more embellishments and adornments until they eclipse the actual memory. They become our past just as a snapshot will, at first, enhance a memory, then replace it."As she remembers it now, Goldman's was an idyllic childhood, charmed even, filled with parental love and sisterly confidences. Growing up in Rock Hill, South Carolina, Judy and her older sister, Brenda, did everything together. Though it was clear from an early age that their personalities were very different (Judy was the "sweet" one, Brenda, the "strong" one), they continued to be fairly inseparable into adulthood.But the love between sisters is complex. Though Judy and Brenda remained close, Goldman recalls struggling to break free of her prescribed role as the agreeable little sister and to assert herself even as she built her own life and started a family.The sisters' relationship became further strained by the illnesses and deaths of their parents, and later, by the discovery that each had tumors in their breasts Judy's benign, Brenda's malignant. The two sisters came back together shortly before the possibility of permanent loss became very real. In her uniquely lyrical and poignant style, Goldman deftly navigates past events and present emotions, drawing readers in as she explores the joys and sorrows of family, friendship, and sisterhood.

    "Northern Cyprus," carved out as a separate space and defined as a distinct (de facto) polity since its invasion by Turkey in 1974, is the subject of this ethnography about postwar politics and social relations. Turkish-Cypriots' sociality in a reforged geography, rid of its former Greek-Cypriot inhabitants after the partition of Cyprus, forms the centerpiece of Yael Navaro-Yashin's conceptual exploration of subjectivity in the context of "ruination" and "abjection." The unrecognized state in Northern Cyprus unfolds through the analytical devices that she develops as she explores this polity's administration and raison d'être via affect theory. Challenging the boundaries between competing theoretical orientations, Navaro-Yashin crafts a methodology for the study of subjectivity and affect, and materiality and the phantasmatic, in tandem. In the process, she creates a subtle and nuanced ethnography of life in the long-term aftermath of war.

    media. Arabs and Muslims in the Media examines this paradox and investigates the increase of sympathetic images of “the enemy” during the War on Terror. Evelyn Alsultany explains that a new standard in racial and cultural representations emerged out of the multicultural movement of the 1990s that involves balancing a negative representation with a positive one, what she refers to as “simplified complex representations.” This has meant that if the storyline of a TV drama or film represents an Arab or Muslim as a terrorist, then the storyline also includes a “positive” representation of an Arab, Muslim, Arab American, or Muslim American to offset the potential stereotype. Analyzing how TV dramas such as The Practice, 24, Law and Order, NYPD Blue, and Sleeper Cell, news-reporting, and non-profit advertising have represented Arabs, Muslims, Arab Americans, and Muslim Americans during the War on Terror, this book demonstrates how more diverse representations do not in themselves solve the problem of racial stereotyping and how even seemingly positive images can produce meanings that can justify exclusion and inequality.

    Just one in ten will graduate college. Compelled by these troubling statistics, Heather Kirn Lanier joined Teach For America (TFA), a program that thrusts eager but inexperienced college graduates into America’s most impoverished areas to teach, asking them to do whatever is necessary to catch their disadvantaged kids up to the rest of the nation.With little more than a five-week teacher boot camp and the knowledge that David Simon referred to her future school as “The Terrordome,” the altruistic and naïve Lanier devoted herself to attaining the program’s goals but met obstacles on all fronts. The building itself was in such poor condition that tiles fell from the ceiling at random. Kids from the halls barged into classes all day, disrupting even the most carefully planned educational activities. In the middle of one lesson, a wandering student lit her classroom door on fire. Some colleagues, instantly suspicious of TFA’s intentions, withheld their help and supplies. (“They think you’re trying to ‘save’ the children,” one teacher said.) And although high school students can be by definition resistant, in west Baltimore they threw eggs, slashed tires, and threatened teachers’ lives. Within weeks, Lanier realized that the task she was charged with—achieving quantifiable gains in her students’ learning—would require something close to a miracle.Superbly written and timely, Teaching in the Terrordome casts an unflinching gaze on one of America’s “dropout factory” high schools. Though Teach For America often touts its most successful teacher stories, in this powerful memoir Lanier illuminates a more common experience of “Teaching For America” with thoughtful complexity, a poet’s eye, and an engaging voice. As hard as Lanier worked to become a competent teacher, she found that in “The Terrordome,” idealism wasn’t enough. To persevere, she had to rely on grit, humility, a little comedy, and a willingness to look failure in the face. As she adjusted to a chaotic school administration, crumbling facilities, burned-out colleagues, and students who perceived their school for the failure it was, she gained perspective on the true state of the crisis TFA sets out to solve. Ultimately, she discovered that contrary to her intentions, survival in the so-called Charm City was a high expectation.

    At the same time, eating performs a kind of vulnerability to the world, revealing a fundamental interdependence between the eater and that which exists outside her body. Racial Indigestion explores the links between food and visual and literary culture in the nineteenth-century United States to reveal how eating produces political subjects by justifying the social discourses that create bodily meaning.Combing through a visually stunning and rare archive of children’s literature, architectural history, domestic manuals, dietetic tracts, novels and advertising, Racial Indigestion tells the story of the consolidation of nationalist mythologies of whiteness via the erotic politics of consumption. Less a history of commodities than a history of eating itself, the book seeks to understand how eating became a political act, linked to appetite, vice, virtue, race and class inequality and, finally, the queer pleasures and pitfalls of a burgeoning commodity culture. In so doing, Racial Indigestion sheds light on contemporary “foodie” culture’s vexed relationship to nativism, nationalism, and race privilege.

    A rich collection of stories, poetry, nonfiction, and speeches, it features:-Historical writings, from important figures.-Vibrant literary writing by eminent Aboriginal writers.-Nonfiction and political writing from contemporary Aboriginal leaders.-Local storytellers and keepers of knowledge from far-reaching Manitoba communities.-New, vibrant voices that express the modern Aboriginal experiences.-Anishinaabe, Cree, Dene, Inuit, Métis, and Sioux writers from Manitoba.Created in the spirit of the Anishinaabe concept debwe (to speak the truth), The Debwe Series is a collection of exceptional Aboriginal writing from across Canada. Manitowapow, a one-of-a-kind anthology, is the first book in The Debwe Series. Manitowapow is the traditional name that became Manitoba, a word that describes the sounds of beauty and power that created the province.

    

      A strong soldier for whom?Killing the Messenger is a searing work of narrative nonfiction that explores one of the most blatant attacks on the First Amendment and free speech in American history and the small Black Muslim cult that carried it out. Award-winning investigative reporter Thomas Peele examines the Black Muslim movement from its founding in the early twentieth century by a con man who claimed to be God, to the height of power of the movement’s leading figure, Elijah Muhammad, to how the great-grandson of Texas slaves reinvented himself as a Muslim leader in Oakland and built the violent cult that the young gunman eventually joined. Peele delves into how charlatans exploited poor African Americans with tales from a religion they falsely claimed was Islam and the years of bloodshed that followed, from a human sacrifice in Detroit to police shootings of unarmed Muslims to the horrible backlash of racism known as the “zebra murders,” and finally to the brazen killing of Chauncey Bailey to stop him from publishing a newspaper story.   Peele establishes direct lines between the violent Black Muslim organization run by Yusuf Bey in Oakland and the evangelicalism of the early prophets and messengers of the Nation of Islam.  Exposing the roots of the faith, Peele examines its forerunner, the Moorish Science Temple of America, which in the 1920s and ’30s preached to migrants from the South living in Chicago and Detroit ghettos that blacks were the world’s master race, tricked into slavery by white devils. In spite of the fantastical claims and hatred at its core, the Nation of Islam was able to build a following by appealing to the lack of identity common in slave descendants.  In Oakland, Yusuf Bey built a cult through a business called Your Black Muslim Bakery, beating and raping dozens of women he claimed were his wives and fathering more than forty children.  Yet, Bey remained a prominent fixture in the community, and police looked the other way as his violent soldiers ruled the streets. An enthralling narrative that combines a rich historical account with gritty urban reporting, Killing the Messenger is a mesmerizing story of how swindlers and con men abused the tragedy of racism and created a radical religion of bloodshed and fear that culminated in a journalist’s murder.THOMAS PEELE is a digital investigative reporter for the Bay Area News Group and the Chauncey Bailey Project. He is also a lecturer at the University of California, Berkeley, Graduate School of Journalism.  His many honors include the Investigative Reporters and Editors Tom Renner Award for his reporting on organized crime, and the McGill Medal for Journalistic Courage. He lives in Northern California.

    African American, Chicano, Asia American, American Indian, women, and queer activists demanded the creation of departments that reflected their histories and experiences, resulting in the formation of interdisciplinary studies programs that hoped to transform both the university and the wider society beyond the campus.In The Reorder of Things, however, Roderick A. Ferguson traces and assesses the ways in which the rise of interdisciplines—departments of race, gender, and ethnicity; fields such as queer studies—were not simply a challenge to contemporary power as manifest in academia, the state, and global capitalism but were, rather, constitutive of it. Ferguson delineates precisely how minority culture and difference as affirmed by legacies of the student movements were appropriated and institutionalized by established networks of power.Critically examining liberationist social movements and the cultural products that have been informed by them, including works by Adrian Piper, Toni Cade Bambara, Jhumpa Lahiri, and Zadie Smith, The Reorder of Things argues for the need to recognize the vulnerabilities of cultural studies to co-option by state power and to develop modes of debate and analysis that may be in the institution but are, unequivocally, not of it.

    Lutzer examines the lessons that may be learned from studying the deception of the church: the dangers of confusing "church and state," how the church lost its focus, the role of God in human tragedy, the parameters of Satan's freedom, the truth behind Hitler's hatred of the Jews, the faithfulness of God to His people who suffer for Him, the comparisons between Hitler's rise and the coming reign of the Antichrist, and America's hidden cross-her dangerous trends. Hitler's Cross is the story of a nation whose church forgot its primary call and discovered its failure too.

    Chapman explores the gender and sexual politics of this modern racial ethos and reveals the constraining and exploitative underside of the New Negro era's vaunted liberation and opportunities. Chapman's cultural history documents the effects on black women of the intersection of primitivism, New Negro patriarchal aspirations, and the early twentieth-century consumer culture. As U.S. society invested in the New Negroes, turning their expressions and race politics into entertaining commodities in a sexualized, primitivist popular culture, the New Negroes invested in the idea of black womanhood as a pillar of stability against the unsettling forces of myriad social and racial transformations. And both groups used black women's bodies and identities to "prove" their own modern notions and new identities. Chapman's analysis brings together advertisements selling the blueswoman to black and white consumers in a "sex-race marketplace," the didactic preachments of New Negro reformers advocating a conservative gender politics of "race motherhood," and the words of the New Negro women authors and migrants who boldly or implicitly challenged these dehumanizing discourses. Prove It On Me investigates the uses made of black women's bodies in 1920s popular culture and racial politics and black women's opportunities to assert their own modern, racial identities.

    In the late 1960s and early 1970s, Black students organized hundreds of protests that sparked a period of crackdown, negotiation, and reform that profoundly transformed college life. At stake was the very mission of higher education. Black students demanded that public universities serve their communities; that private universities rethink the mission of elite education; and that black colleges embrace self-determination and resist the threat of integration. Most crucially, black students demanded a role in the definition of scholarly knowledge.Martha Biondi masterfully combines impressive research with a wealth of interviews from participants to tell the story of how students turned the slogan “black power” into a social movement. Vividly demonstrating the critical linkage between the student movement and changes in university culture, Biondi illustrates how victories in establishing Black Studies ultimately produced important intellectual innovations that have had a lasting impact on academic research and university curricula over the past 40 years. This book makes a major contribution to the current debate on Ethnic Studies, access to higher education, and opportunity for all.

    For the past six years the authors have inhabited the close-knit fan communities of the television show Supernatural, engaging in criticism and celebration, reading and writing fanfiction, and attending fan conventions. Their close relationships within the community allow an intimate behind-the-scenes examination of fan psychology, passion, motivation, and shame. The authors also speak directly to the creative side in order to understand what fuels the passionate reciprocal relationship Supernatural has with its fans. As they go behind the scenes and onto the sets to talk with Supernatural's showrunners, writers, and actors, the authors struggle to negotiate a hybrid identity as 'aca-fans'. Fangirls one moment, 'legitimate' researchers the next, the boundaries often blur. Their repeated breaking of the fan/creative side boundary is mirrored in Supernatural's reputation for fourth wall breaking, which has attracted journalistic coverage everywhere from Entertainment Weekly to the New York Times. Written with humor and irreverence, Fandom at the Crossroads combines an innovative theorizing of fandom and popular culture, with a behind-the-scenes story that anyone who has ever been a fan or wondered why others are fans will find fascinating.

    As Just Seeds said of the first edition, "In the age of endless and vacuous graffiti coffee table books with no written content and no sense of history beyond 1980s NYC subway cars, this is a massive breath of fresh air." Gold.It's possible Bill Daniel is the most inspiring filmmaker of our day. With an impressive filmography that includes work on Craig Baldwin's Sonic Outlaws and as Vanessa Renwick's long-time collaborator, Daniel has crafted a remarkable book to go with his twenty-years-in-the-making Who Is Bozo Texino?—a documentary about modern day hobos, rail workers and a forgotten outsider subculture. It's full of obscure railroad nostalgia—the result of a 25 year obsession with hobo and railworker folklore. Freight riding stories, interviews with hobos and boxcar artists, historical oddities and tons of photos of modern day boxcar tags are all presented in the guise of a vintage rail fanzine.

    This anthology begins with a historical introduction to al-Mutanabbi Street and includes the writing of Iraqis as well as a wide swath of international poets and writers who were outraged by this attack. Exploring the question Where does al-Mutanabbi Street start?, the book looks at both communities and nations, seeking to show the commonality between a small street in Baghdad and other individual cultural centers and explain why this attack was an attack on us all. Chapters examine al-Mutanabbi Street as a place for the free exchange of ideas, a place that has long offered its sanctuary to the complete spectrum of Iraqi voices, and a place where the roots of democracy took hold many hundreds of years ago.

    In ten captivating and tender stories, E. J. Levy takes readers through the surprisingly erotic terrain of the intellect, offering a smart and modern take on the age-old theme of love--whether between a man and woman, a man and a man, a woman and a woman, or a mother and a child--drawing readers into tales of passion, adultery, and heartbreak. A disheartened English professor's life changes when she goes rock climbing and falls for an outdoorsman. A gay oncologist attending his sister's second wedding ponders dark matter in the universe and the ties that bind us. Three psychiatric patients, each convinced that he is Christ, give rise to a love affair in a small Minnesota town. A Brooklyn woman is thrown out of an ashram for choosing earthly love over enlightenment. A lesbian student of film learns theories of dramatic action the hard way--by falling for a married male professor. Incorporating theories from physics to film to philosophy, from "Rational Choice" to Thorstein Veblen's "Theory of the Leisure Class," these stories movingly explore the heart and mind--shooting cupid's arrow toward a target that may never be reached.

    But statistics show that young Americans are disenchanted with a faith that has become culturally antagonistic and too closely aligned with partisan politics. In this personal yet practical work, Jonathan Merritt uncovers the changing face of American Christianity by uniquely examining the coming of age of a new generation of Christians.Jonathan Merritt illuminates the spiritual ethos of this new generation of believers who engage the world with Christ-centered faith but an un-polarized political perspective. Through personal stories and biblically rooted commentary this scion of a leading evangelical family takes a close, thoughtful look at the changing religious and political environment, addressing such divisive issues as abortion, gay marriage, environmental use and care, race, war, poverty, and the imbalance of world wealth. Through Scripture, the examples of Jesus, and personal defining faith experiences, he distills the essential truths at the core of a Christian faith that is now just coming of age.

    Racial Formation in the 21st Century, arriving twenty-five years after the publication of Omi and Winant’s influential work, brings together fourteen essays by leading scholars in law, history, sociology, ethnic studies, literature, anthropology and gender studies to consider the past, present and future of racial formation. The contributors explore far-reaching concerns: slavery and land ownership; labor and social movements; torture and war; sexuality and gender formation; indigineity and colonialism; genetics and the body. From the ecclesiastical courts of seventeenth century Lima to the cell blocks of Abu Grahib, the essays draw from Omi and Winant’s influential theory of racial formation and adapt it to the various criticisms, challenges, and changes of life in the twenty-first century.

    Sportuality crosses disciplines of sports and spirituality to help readers-athletes, coaches, parents, and fans-evolve a higher consciousness within sports and competition. Using a journal and questions for self-reflection-called a "box score" and "time-out" -readers can reflect upon and create their own sportual stories. By examining words traditionally used within sports, Sportuality helps the reader think critically about competition, community, communication, spirit, humor, enthusiasm, education, religion, holiness, sanctuary, sacrifice, and victory. Sportuality can also expose our learned beliefs in war and violence so we might be willing to choose the alternatives of joy and peace.

    Finding the neat polarities of tradition and modernity, colonial and postcolonial, no longer sufficient for interpreting the globalized present, she turns elsewhere to make her central argument: that aesthetic education is the last available instrument for implementing global justice and democracy.Gayatri Chakravorty Spivak’s unwillingness to sacrifice the ethical in the name of the aesthetic, or to sacrifice the aesthetic in grappling with the political, makes her task formidable. As she wrestles with these fraught relationships, she rewrites Friedrich Schiller’s concept of play as double bind, reading Gregory Bateson with Gramsci as she negotiates Immanuel Kant, while in dialogue with her teacher Paul de Man. Among the concerns Spivak addresses is this: Are we ready to forfeit the wealth of the world’s languages in the name of global communication? “Even a good globalization (the failed dream of socialism) requires the uniformity which the diversity of mother-tongues must challenge,” Spivak writes. “The tower of Babel is our refuge.”In essays on theory, translation, Marxism, gender, and world literature, and on writers such as Assia Djebar, J. M. Coetzee, and Rabindranath Tagore, Spivak argues for the social urgency of the humanities and renews the case for literary studies, imprisoned in the corporate university. “Perhaps,” she writes, “the literary can still do something.”

    These everyday experiences, the editors and contributors argue, were central to the way that communismwas lived in its widely varied contexts in the region. From design, to production, to retail sales and black market exchange, Communism Unwrapped follows communist goods from producer to consumer, tracing their circuitous routes. In the communist world this journey was rife with its own meanings, shaped by the special political and social circumstances of these societies. In examining consumption behind the Iron Curtain, this volume brings dimension and nuance to understandings of the communist period and the history of consumerism.

    Only then can it be revealed that what is a part of the speculations of capital is not art itself, but mostly artistic life. Artist at Work examines the recent changes in the labour of an artist and addresses them from the perspective of performance.

    For him, writing poetry was a way to expose the ills of society; his was the poetry of everyday human concerns. His poems have an appealing style, written with a deliberate simplicity. They were extremely popular in his lifetime, in both China and Japan, and they continue to be read in both countries today.

    For every flourishing Facebook, there is a moribund Friendster--not to mention the scores of smaller social networking sites that never attracted enough members to be viable. This book offers lessons from theory and empirical research in the social sciences that can help improve the design of online communities.The authors draw on the literature in psychology, economics, and other social sciences, as well as their own research, translating general findings into useful design claims. They explain, for example, how to encourage information contributions based on the theory of public goods, and how to build members' commitment based on theories of interpersonal bond formation. For each design claim, they offer supporting evidence from theory, experiments, or observational studies.

    In the national imaginary, according to Chang, racial subjects are often perceived as the source of jouissance, which they supposedly embody through their excesses of violence, sexuality, anger, and ecstasy—excesses that threaten to overwhelm the social order.To examine her argument that racism ascribes too much, rather than a lack of, humanity, Chang analyzes domestic accounts by Asian American writers, including Fae Myenne Ng’s Bone, Brian Ascalon Roley’s American Son, Chang-rae Lee’s Native Speaker, and Suki Kim’s The Interpreter. Employing careful reading and Lacanian psychoanalysis, Chang finds sites of excess and shock: they are not just narratives of trauma; they produce trauma as well. They render Asian Americans as not only the objects but also the vehicles and agents of inhuman suffering. And, claims Chang, these novels disturb yet strangely exhilarate the reader through characters who are objects of racism and yet inhumanly enjoy their suffering and the suffering of others.Through a detailed investigation of “family business” in works of Asian American life, Chang shows that by identifying with the nation’s psychic disturbance, Asian American characters ethically assume responsibility for a national unconscious that is all too often disclaimed.

    If we understand this, Erica R. Edwards tells us, we will better appreciate the dramatic variations within both the modern black freedom struggle and the black literary tradition.By considering leaders such as Marcus Garvey, Martin Luther King Jr., Malcolm X, and Barack Obama as both historical personages and narrative inventions of contemporary American culture, Edwards brings to the study of black politics the tools of intertextual narrative analysis as well as deconstruction and close reading. Examining a number of literary restagings of black leadership in African American fiction by W. E. B. Du Bois, George Schuyler, Zora Neale Hurston, William Melvin Kelley, Paul Beatty, and Toni Morrison, Edwards demonstrates how African American literature has contested charisma as a structuring fiction of modern black politics.Though recent scholarship has challenged top-down accounts of historical change, the presumption that history is made by gifted men continues to hold sway in American letters and life. This may be, Edwards shows us, because while charisma is a transformative historical phenomenon, it carries an even stronger seductive narrative power that obscures the people and methods that have created social and political shifts.

    Drawing on influences as diverse as Merleau-Ponty, Freud, and J. G. Ballard, The Memory of Place charts the memorial landscape that is written into the body and its experience of the world.Dylan Trigg’s The Memory of Place offers a lively and original intervention into contemporary debates within “place studies,” an interdisciplinary field at the intersection of philosophy, geography, architecture, urban design, and environmental studies. Through a series of provocative investigations, Trigg analyzes monuments in the representation of public memory; “transitional” contexts, such as airports and highway rest stops; and the “ruins” of both memory and place in sites such as Auschwitz. While developing these original analyses, Trigg engages in thoughtful and innovative ways with the philosophical and literary tradition, from Gaston Bachelard to Pierre Nora, H. P. Lovecraft to Martin Heidegger. Breathing a strange new life into phenomenology, The Memory of Place argues that the eerie disquiet of the uncanny is at the core of the remembering body, and thus of ourselves. The result is a compelling and novel rethinking of memory and place that should spark new conversations across the field of place studies.Edward S. Casey, Distinguished Professor of Philosophy at Stony Brook University and widely recognized as the leading scholar on phenomenology of place, calls The Memory of Place “genuinely unique and a signal addition to phenomenological literature. It fills a significant gap, and it does so with eloquence and force.” He predicts that Trigg’s book will be “immediately recognized as a major original work in phenomenology.”

    Working from Whitehead's process philosophy and Simondon's theory of individuation, she extends the concepts of movement and relation developed in her earlier work toward the notion of "choreographic thinking." Here, she uses those concepts to explore a mode of perception prior to the settling of experience into established categories. Manning connects this to the concept of "autistic perception," described by autistics as the awareness of a relational field prior to the so-called "neurotypical" tendency to "chunk" experience into predetermined subjects and objects. Autistics explain that, rather than immediately distinguishing objects—such as chairs and tables and humans—from one another on entering a given environment, they experience the environment as gradually taking form. Manning maintains that this mode of awareness underlies all perception. What we perceive is never first a subject or an object, but an ecology. From this vantage point, she proposes that we consider an ecological politics where movement and relation take precedence over predefined categories, such as the neurotypical and the neurodiverse, or the human and the nonhuman. What would it mean to embrace an ecological politics of collective individuation?Erin Manning is University Research Chair in Philosophy and Relational Art and Associate Professor in the Faculty of Fine Arts at Concordia University. She is the author of Relationscapes: Movement, Art, Philosophy and Politics of Touch: Sense, Movement, Sovereignty and coauthor, with Brian Massumi, of Thought in the Act: Passages in the Ecology of Experience (forthcoming). Brian Massumi is the author of Parables for the Virtual: Movement, Affect, Sensation, also published by Duke University Press, and Semblance and Event: Activist Philosophy and the Occurrent Arts."Erin Manning's book offers a philosophy of neurodiverse perception, encouraging us “not to begin with the pre-chunked.” How ironic, then, that the impulse to categorize and to pathologize is generally seen as evidence of the normate’s proper functioning. In Manning’s splendid book, autism comes to signify not a disorder but a relational “dance of attention,” one that refuses to strand any entity at the margin of our concern."—Ralph James Savarese, coeditor of Autism and the Concept of Neurodiversity, a special issue of Disability Studies Quarterly"In Always More Than One, Erin Manning produces a truly original choreographic thinking. I don't just mean that she writes about choreography. She thinks how the body moves, and moves her writing in step with that thinking. She performs an expanded choreography, developed in dialogue with dance, putting dance in dialogue with other practices. A must for dancers who think - and philosophers who wish they could dance."—William Forsythe, Choreographer and Artistic Director of The Forsythe Company"In this book, Erin Manning takes us on an amazing journey. It is a journey of philosophical thought, to be sure; but it is also a journey of bodies in motion, through landscapes that are enlivened and transformed by their passage. Always More Than One is a book about the vitality of the in-between. It presents a vision of life adding to life, whether in the simplest everyday encounters, or in the densely articulated webs of works of art."—Steven Shaviro, author of Post Cinematic Affect

    In Ancient Egypt he was the majestic god Thoth, the Recorder, the lord of measurement and science, the brother/husband of Isis. In Rome, he was of course Mercury, flying through the Empyrean at the speed of idea by the aid of his winged helmet and boots. In this broad survey of the Hermetic arts, author Jacob Slavenburg brings an unparalleled depth of insight to the subject. He examines the historical Hermetic literature and details its relevance to modern occultism, from the symbolism of architecture and art to the mysteries of Freemasonry. The heavenly mysteries of astrology are explored as are the healing arts which derive from the spirit of scientific inquiry embodied by Thoth/Hermes. Slavenburg examines the magical writings of the Greek papyri and their development into the contemporary magical practices of modern adepts.Slavenburg sheds light on the workings of alchemy and the esoteric philosophy to the world of modern chemistry and physics. He explores the origin of evil and the realm of the afterlife, and the Hermetic doctrines of reincarnation and karma. In addition, the author provides a wealth of biographical data on the magi of Hermeticsm, from Ficino to Agrippa, John Dee to Giordano Bruno.

    This paradoxical character of their discursive relations is what Rey Chow intends with the word "entanglements," by which she means, first, an enmeshment of topics: the mediatized image in modernist reflexivity; captivation and identification; victimhood; the place of East Asia in globalized Western academic study. Beyond enmeshment, she asks, can entanglements be phenomena that are not defined by affinity or proximity? Might entanglements be about partition and disparity rather than about conjunction and similarity?Across medial forms (including theater, film, narrative, digitization, and photographic art), and against more popular trends of declaring things and people to be in flux, Chow proposes conceptual frames that foreground instead aesthetic, ontological, and sentient experiences of force, dominance, submission, fidelity, antagonism, masochism, letting-go, and the attraction to self-annihilation. Boundary, trap, capture, captivation, sacrifice, and mimesis: these riveting terms serve as analytic pressure points in her readings, articulating perversity, madness, and terror to pursuits of freedom.

    Prior research on sex work has focused primarily on prostitutes and most studies of BDSM absorb pro-domme/client relationships without exploring what makes them unique. Lindemann satisfies our curiosity about these paid encounters, shining a light on one of the most secretive and least understood of personal relationships and unthreading a heretofore unexamined patch of our social tapestry. Upending the idea that these erotic laborers engage in simple exchanges and revealing the therapeutic and analytic nature of their work, Lindemann makes a major contribution to cultural studies, anthropology, and queer studies with her analysis of how gender, power, sexuality, and hierarchy shape all of our social experiences.

    Locating modern astrology historically and sociologically in its religious, New Age and millenarian contexts.

    In this book, she offers a radically new interpretation of two medieval Icelandic tales, known as the Vinland sagas. She contends that they are the first known European narratives about contact with North America. After carefully explaining the evidence for that conclusion, Kolodny examines what happened after 1837, when English translations of the two sagas became widely available and enormously popular in the United States. She assesses their impact on literature, immigration policy, and concepts of masculinity.Kolodny considers what the sagas reveal about the Native peoples encountered by the Norse in Vinland around the year A.D. 1000, and she recovers Native American stories of first contacts with Europeans, including one that has never before been shared outside of Native communities. These stories contradict the dominant narrative of "first contact" between Europeans and the New World. Kolodny rethinks the lingering power of a mythic American Viking heritage and the long-standing debate over whether Leif Eiriksson or Christopher Columbus should be credited as the first discoverer. With this paradigm-shattering work, Kolodny shows what literary criticism can bring to historical and social scientific endeavors.Annette Kolodny is College of Humanities Professor Emerita of American Literature and Culture at the University of Arizona. She is the author of Failing the Future: A Dean Looks at Higher Education in the Twenty-first Century and the editor of The Life and Traditions of the Red Man, by Joseph Nicolar, both also published by Duke University Press. In addition, she is the author of The Land Before Her: Fantasy and Experience of the American Frontiers, 1630–1860, and The Lay of the Land: Metaphor as Experience and History in American Life and Letters. "Having long argued that English-language texts alone provide an inadequate understanding of frontier history, Annette Kolodny now challenges the Eurocentric assumptions involved in what constitutes a 'literary' source. She makes the case that North American literary history begins not with the European exploration narratives customarily taken as its start, but with 'contact texts' culled from the pictographic materials of tribes in the Algonquian-speaking Wabanaki Confederacy and from the Norse sagas with which she suggests they intersect. Kolodny's sophisticated understanding of the theoretical implications of her findings, her meticulous and fair attention to previous scholarship, and her indefatigable and innovative efforts to mine material that has not previously figured prominently in these conversations result in a book that is exciting, fresh, and more ambitious and synthetic than any previous effort to explore contact narratives."—Shelley Fisher Fishkin, Joseph S. Atha Professor of Humanities and Director of the American Studies Program, Stanford University"In Search of First Contact contributes a great deal to scholarly knowledge of the Vinland narratives. Annette Kolodny explains what those stories help us to comprehend about the indigenous peoples of the northern Atlantic coast, and she illuminates the process by which people in Anglo-America have come to understand their own history on this continent. Her exposition of the sagas is absolutely superb. This is an outstanding and important work."—Robert Warrior, Director of the American Indian Studies Program, University of Illinois, Urbana-Champaign, and author of The People and the Word: Reading Native Nonfiction."In Search of First Contact is a tour de force. In this masterful exploration of the Anglo-American fascination with Vikings in North America, Annette Kolodny unravels the mythology around Viking contact with the continent and explains how it has inspired Americans' search for their roots, been used politically, and served to set newcomers apart from the inhabitants already here. She brings a penetrating perspective to bear on the notion of first contact and what it might have meant both to Native Americans and to the Norse. This brilliantly written book is bound to become a classic."—Birgitta Linderoth Wallace, archaeologist and author of Westward Vikings: The Saga of L'Anse aux Meadows.

    Performances---from concert dance and street protest to the choreographic strategies deployed by dancers at nightclubs---served as critical meeting points and practices through which LGBT and other nonnormative sex practitioners of Latin American descent (individuals with greatly differing cultures, histories of migration or annexation to the United States, and contemporary living conditions) encountered each other and forged social, cultural, and political bonds. At a time when latinidad ascended to the national public sphere in mainstream commercial and political venues and Latina/o public space was increasingly threatened by the redevelopment of urban centers and a revived anti-immigrant campaign, queer Latinas/os in places such as the Bronx, San Antonio, Austin, Phoenix, and Rochester, NY, returned to performance to claim spaces and ways of being that allowed their queerness and latinidad to coexist. These social events of performance and their attendant aesthetic communication strategies served as critical sites and tactics for creating and sustaining queer latinidad.

    A young woman with no arms wears a sequined tutu and smiles for the camera as she smokes a cigarette with her toes; a man holds up two prosthetic legs while his own legs are bared to the knees to show his missing feet. The photos were used as promotional material for circus sideshows, charity drives, and art galleries. They were found on begging cards and in family albums. In Picturing Disability, Bogdan and his collaborators gather over 200 historical photographs showing how people with disabilities have been presented and exploring the contexts in which they were photographed.Rather than focus on the subjects, Bogdan turns his gaze on the people behind the camera. He examines the historic and cultural environment of the photographs to decipher the relationship between the images and the perspectives of the picture makers. In analyzing the visual rhetoric of these photographs, Bogdan identifies the wide variety of genres, from sideshow souvenirs to clinical photographs. Ranging from the 1860s, when photographs first became readily available, to the 1970s, when the disability rights movement became a force for significant change, Bogdan chronicles the evolution of disability image creation. Picturing Disability takes the reader beyond judging images as positive or slanderous to reveal how particular contexts generate specific emotions and lasting depictions.

    During its two millennia, the empire endured internal wars, foreign incursions, alien occupations, and devastating rebellions--yet fundamental institutional, sociopolitical, and cultural features of the empire remained intact. The Everlasting Empire traces the roots of the Chinese empire's exceptional longevity and unparalleled political durability, and shows how lessons from the imperial past are relevant for China today.Yuri Pines demonstrates that the empire survived and adjusted to a variety of domestic and external challenges through a peculiar combination of rigid ideological premises and their flexible implementation. The empire's major political actors and neighbors shared its fundamental ideological principles, such as unity under a single monarch--hence, even the empire's strongest domestic and foreign foes adopted the system of imperial rule. Yet details of this rule were constantly negotiated and adjusted. Pines shows how deep tensions between political actors including the emperor, the literati, local elites, and rebellious commoners actually enabled the empire's basic institutional framework to remain critically vital and adaptable to ever-changing sociopolitical circumstances. As contemporary China moves toward a new period of prosperity and power in the twenty-first century, Pines argues that the legacy of the empire may become an increasingly important force in shaping the nation's future trajectory.

    New technologies erased distance and accelerated the global exchange of people, products, and ideas on an unprecedented scale. A World Connecting focuses on an era when growing global interconnectedness inspired new ambitions but also stoked anxieties and rivalries that would erupt in two world wars--the most destructive conflicts in human history.In five interpretive essays, distinguished historians Emily S. Rosenberg, Charles S. Maier, Tony Ballantyne, Antoinette Burton, Dirk Hoerder, Steven C. Topik, and Allen Wells illuminate the tensions that emerged from intensifying interconnectedness and attempts to control and shape the effects of sweeping change. Each essay provides an overview of a particular theme: modern state-building; imperial encounters; migration; commodity chains; and transnational social and cultural networks. With the emergence of modern statehood and the fluctuating fate of empires came efforts to define and police territorial borders. As people, products, capital, technologies, and affiliations flowed across uneasily bounded spaces, the world both came together and fell apart in unexpected, often horrifying, and sometimes liberating ways.A World Connecting goes beyond nations, empires, and world wars to capture the era's defining feature: the profound and disruptive shift toward an ever more rapidly integrating world.

    Colin Koopman engages genealogy as a philosophical tradition and a method for understanding the complex histories of our present social and cultural conditions. He explains how our understanding of Foucault can benefit from productive dialogue with philosophical allies to push Foucaultian genealogy a step further and elaborate a means of addressing our most intractable contemporary problems.

    Mabel O. Wilson gives voice to the figures who conceived the curatorial content: Booker T. Washington, W. E. B. Du Bois, Ida B. Wells, A. Philip Randolph, Horace Cayton, and Margaret Burroughs. Originally published in 2012, the book reveals why the Black cities of Chicago and Detroit became the sites of major Black historical museums rather than the nation's capital, which would eventually become home for the Smithsonian's National Museum of African American History and Culture, which opened in 2016.

    She came from a Creole family that had known privileges before the Civil War, privileges that largely disappeared in the Jim Crow South. She learned photographic techniques while passing for white. She opened her first studio in her home, and later moved her business to New Orleans’s black business district. Fiercely independent, she ignored convention by moving out of her parents’ house before marriage and, later, by divorcing her first husband.Between 1920 and 1949, Collins documented African American life, capturing images of graduations, communions, and recitals, and allowing her subjects to help craft their images. She supported herself and her family throughout the Great Depression and in the process created an enduring pictorial record of her particular time and place. Collins left behind a visual legacy that taps into the social and cultural history of New Orleans and the South.            It is this legacy that Arthé Anthony, Collins’s great-niece, explores in Picturing Black New Orleans. Anthony blends Collins’s story with those of the individuals she photographed, documenting the profound changes in the lives of Louisiana Creoles and African Americans. Balancing art, social theory, and history and drawing from family records, oral histories, and photographs rescued from New Orleans in the wake of Hurricane Katrina, Anthony gives us a rich look at the cultural landscape of New Orleans nearly a century ago.

    This volume includes the world premiere of over 25 pages of manuscripts, notebooks, and scores from the private archives of Arvo Pärt, courtesy of the International Arvo Pärt Centre, as well as two lost interviews with Hubert Selby, Jr., courtesy of Pacifica Radio Archives. We also present an extensive interview with Micheline Aharonian Marcom alongside excerpts from her forthcoming novel, The Nothing on Which the Fire Depends.

    Some scholars and activists argue that religion is contributing to the spread of HIV and to the stigmatization of people living with AIDS. Others claim that religion reduces the spread of HIV and promotes care andsupport for the sick and their survivors.Religion and AIDS in Africa offers the first comprehensive empirical account of the impact of religion on the AIDS epidemic. Jenny Trinitapoli and Alexander Weinreb draw upon extensive fieldwork in Malawi, including hundreds of interviews with religious leaders and lay people, and survey data frommore than 30 other sub-Saharan African countries. Their research confirms the importance of religious narratives and institutions in everything related to AIDS in Africa. Among other key findings, Trinitapoli and Weinreb show that a combination of religious and biomedical approaches to preventionreduces risk most effectively; that a significant minority of religious leaders encourage condom use; that Christian congregations in particular play a crucial role in easing suffering among the sick and their dependents; and that religious spaces in general are vital for disseminating informationand developing new strategies for HIV prevention and AIDS mitigation.For anyone wishing to move beyond the rhetoric and ideology that plague debates about one of the most challenging crises of our time, Religion and AIDS in Africa is the authoritative account. It will change the way readers think about religious life and about AIDS in the region.

    As this book shows, the tendency within psytrance is to thwart the passage of time, to prolong the night, for those who adopt a liminal lifestyle. Amid the hustle and hubris of the psytrance carnival there is a peaceful repose that you sometimes catch when you've drifted into a sea of outstretched limbs, bodies swaying like a field of sunflowers in a light breeze. And you feel intense joy in this fleeting moment. You are the moment. You are inside the flow. You are all. Embodying the poetry of dance, you are living evidence that nothing lasts. And this is a deep revelation of the mystical function of trance. It is difficult to emerge from this little death, because one does not want the party to end. But it must end, even so that it can recommence-so that one can return to repeat the cycle. The result of fifteen years of research in over a dozen countries, this book applies a sharp lens on a little understood global dance culture that has mushroomed all over the world since its beginnings in the diverse psychedelic music scenes flourishing in Goa in the 1970s and 1980s. The paramount expression of this movement has been the festival, from small parties to major international events such as Portugal's Boom Festival, which promotes itself as a world-summit of visionary arts and trance, a "united tribe of the world." Via first-hand accounts of the scenes, events and music of psychedelic trance in Australia, Israel, Germany, Italy, the UK, the US, Turkey and other places, the book thoroughly documents this transnational movement with its diverse aesthetic roots, multiple national translations and internal controversies. As a multi-sited ethnography and an examination of the digital, chemical, cyber and media assemblage constituting psytrance, the book explores the integrated role that technology and spirituality have played in the formation of this visionary arts movement and shows how these event-cultures accommodate rites of risk and consciousness, a complex circumstance demanding revision of existing approaches to ritual, music and culture.'From the esoteric traveler jams of Goa to the liminal zones of Boom and Burning Man, Graham St John guides us through the cosmic carnival of global psytrance with an intoxicating blend of deep research, empathic ethnography, and edge-dancing cultural analysis. This is the definitive book on what has become, from the perspective of planetary spiritual culture, the most resonant music scene of our transhuman century.' --Erik Davis, author of The Visionary State and Nomad Codes: Adventures in Modern Esoterica '

    The hippie enclaves of Haight-Ashbury are featured in glorious Ektachrome, as are the early rides of Disneyland at Anaheim. There are match-ups for the most famous sign in the world in Hollywood, plus forays into Gold Country and Death Valley.

    Considering Chang and Eng's body in America from the nineteenth century to the present

    Collins tells the narrative history of the political and cultural fortunes of American evangelicalism from the late nineteenth century through the contemporary era. He traces the establishment of the evangelical enterprise in American culture and its influences on the political and social values of the American landscape throughout the twentieth century, as well as its fragmentation into competing ideological camps. Underlining how both sides of the liberal-conservative divide have diluted their message through political idioms, Collins suggests a way forward for evangelical political identity that avoids the pitfalls of fundamentalism and liberalism. Will American evangelicalism outlive its partisan history? As Kenneth Collins tells the story, there is reason to think so.

    "The Hip-Hop Generation Fights Back "examines how youth activism has emerged to address the persistent inequalities that affect urban youth of color. Andreana Clay provides a detailed account of the strategies that youth activists use to frame their social justice agendas and organize in their local communities.Based on two years of fieldwork with youth affiliated with two non-profit organizations in Oakland, California, "The Hip-Hop Generation Fights Back" shows how youth integrate the history of social movement activism of the 1960s, popular culture strategies like hip-hop and spoken word, as well as their experiences in the contemporary urban landscape, to mobilize their peers. Ultimately, Clay's comparison of the two youth organizations and their participants expands our understandings of youth culture, social movements, popular culture, and race and ethnic relations.

    Branding is central to political campaigns and political protest movements; the alchemy of social media and self-branding creates overnight celebrities; the self-proclaimed "greening" of institutions and merchant goods is nearly universal. But while the practice of branding is typically understood as a tool of marketing, a method of attaching social meaning to a commodity as a way to make it more personally resonant with consumers, Sarah Banet-Weiser argues that in the contemporary era, brands are about culture as much as they are about economics. That, in fact, we live in a brand culture.Authentic(TM) maintains that branding has extended beyond a business model to become both reliant on, and reflective of, our most basic social and cultural relations. Further, these types of brand relationships have become cultural contexts for everyday living, individual identity, and personal relationships--what Banet-Weiser refers to as "brand cultures." Distinct brand cultures, that at times overlap and compete with each other, are taken up in each chapter: the normalization of a feminized "self-brand" in social media, the brand culture of street art in urban spaces, religious brand cultures such as "New Age Spirituality" and "Prosperity Christianity,"and the culture of green branding and "shopping for change."In a culture where graffiti artists loan their visions to both subway walls and department stores, buying a cup of "fair-trade" coffee is a political statement, and religion is mass-marketed on t-shirts, Banet-Weiser questions the distinction between what we understand as the "authentic" and branding practices. But brand cultures are also contradictory and potentially rife with unexpected possibilities, leading Authentic(TM) to articulate a politics of ambivalence, creating a lens through which we can see potential political possibilities within the new consumerism.

    Yet the ways we talk and dress, our interactions with authority figures, the degree of trust we place in strangers, our religious beliefs, our achievements, our senses of morality and of ourselves—all are marked by social class, a powerful factor affecting every domain of life. In Facing Social Class, social psychologists Susan Fiske and Hazel Rose Markus, and a team of sociologists, anthropologists, linguists, and legal scholars, examine the many ways we communicate our class position to others and how social class shapes our daily, face-to-face interactions—from casual exchanges to interactions at school, work, and home.Facing Social Class exposes the contradiction between the American ideal of equal opportunity and the harsh reality of growing inequality, and it shows how this tension is reflected in cultural ideas and values, institutional practices, everyday social interactions, and psychological tendencies. Contributor Joan Williams examines cultural differences between middle- and working-class people and shows how the cultural gap between social class groups can influence everything from voting practices and political beliefs to work habits, home life, and social behaviors. In a similar vein, Annette Lareau and Jessica McCrory Calarco analyze the cultural advantages or disadvantages exhibited by different classes in institutional settings, such as those between parents and teachers. They find that middle-class parents are better able to advocate effectively for their children in school than are working-class parents, who are less likely to challenge a teacher's authority.Michael Kraus, Michelle Rheinschmidt, and Paul Piff explore the subtle ways we signal class status in social situations. Conversational style and how close one person stands to another, for example, can influence the balance of power in a business interaction. Diana Sanchez and Julie Garcia even demonstrate that markers of low socioeconomic status such as incarceration or unemployment can influence whether individuals are categorized as white or black—a finding that underscores how race and class may work in tandem to shape advantage or disadvantage in social interactions.The United States has one of the highest levels of income inequality and one of the lowest levels of social mobility among industrialized nations, yet many Americans continue to buy into the myth that theirs is a classless society. Facing Social Class faces the reality of how social class operates in our daily lives, why it is so pervasive, and what can be done to alleviate its effects.Contributors: Courtney Bearns, Jessica McCrory Colarco, Paul DiMaggio, Susan R. Fisk, Stephanie A. Fryberg, Julie A. Garcia, Crystal C. Hall, Michael W. Kraus, Adrie Kusserow, Annette Lareau, Peggy J. Miller, Miguel Moya, Paul K. Piff, Michelle L. Rheinschmidt, Cecilia L. Ridgeway, Ann Marie Russell, Diana T. Sanchez, Douglas E. Sperry, Nicole M. Stephens, Joan C. Williams.

    A crop of atheist manifestos led the charge, surmounting and holding the tops of the nonfiction bestseller lists. This offensive brought on an outpouring of religious rebuttals. As both sides exchanged spirited volleys, accusations were leveled; myths, stereotypes, and strawmen arguments were perpetuated; and bitter hostility filled the air. Today many of these misconceptions and myths linger on, along with the generally acrimonious spirit of the debate. In America’s Blessings, distinguished researcher Rodney Stark seeks to clear the air of this hostility and debunk many of the debate’s most widely perpetuated misconceptions by drawing from an expansive pool of sociological findings. Looking at the measurable effects of religious faith and practice on American society, Stark rises above the fray and focuses exclusively on facts. His findings may surprise many, atheists and believers alike. Starting with a historical overview, Stark traces America’s religious roots from the founding of the country up through the present day, showing that religiosity in America has never been consistent, static, or monolithic. Interestingly, he finds that religious practice is now more prevalent than ever in America, despite any claims to the contrary. From here, Stark devotes whole chapters to unpacking the latest research on how religion affects different facets of modern American life, including crime, family life, sexuality, mental and physical health, sophistication, charity, and overall prosperity. The cumulative effect is that when translated into comparisons with western European nations, the United States comes out on top again and again. Thanks in no small part to America’s rich religious culture, the nation has far lower crime rates, much higher levels of charitable giving, better health, stronger marriages, and less suicide, to note only a few of the benefits.  In the final chapter, Stark assesses the financial impact of these religious realities. It turns out that belief benefits the American economy—and all 300 million citizens, believer and nonbeliever alike—by a conservative estimate of $2.6 trillion a year. Despite the atheist outcry against religion, the remarkable conclusion is clear: all Americans, from the most religious among us to our secular neighbors, really ought to count our blessings.

    Nomadic theory offers an original and powerful alternative for scholars working in cultural and social criticism and has, over the past decade, crept into continental philosophy, queer theory, and feminist, postcolonial, techno-science, media, and race studies, as well as into architecture, history, and anthropology. This collection provides a core introduction to Braidotti's nomadic theory and its innovative formulations, which playfully engage with Deleuze, Foucault, Irigaray, and a host of political and cultural issues.Arranged thematically, essays begin with such concepts as sexual difference and embodied subjectivity and follow with explorations in technoscience, feminism, postsecular citizenship, and the politics of affirmation. Braidotti develops a distinctly positive critical theory that rejuvenates the experience of political scholarship. Inspired yet not confined by Deleuzian vitalism, with its commitment to the ontology of flows, networks, and dynamic transformations, she emphasizes affects, imagination, and creativity and the politics of radical immanence. Incorporating ideas from Nietzsche and Spinoza as well, Braidotti establishes a critical-theoretical framework equal parts critique and creation. Ever mindful of the perils of defining difference in terms of denigration and the related tendency to subordinate sexualized, racialized, and naturalized others, she explores the eco-philosophical implications of nomadic theory, feminism, and the irreducibility of sexual difference and sexuality. Her dialogue with technoscience is crucial to nomadic theory, which deterritorializes the established understanding of what counts as human, along with our relationship to animals, the environment, and changing notions of materialism. Keeping her distance from the near-obsessive focus on vulnerability, trauma, and melancholia in contemporary political thought, Braidotti promotes a politics of affirmation that has the potential to become its own generative life force.

    Her parents murdered, her reservation disbanded, she wanders from place to place, job to job: horse-trainer, bodyguard, trans-Atlantic sailor, carpenter, gardener, artist. A tale of survival and triumph.

    M. Hull's best-selling novel that became a wildly popular film starring Rudolph Valentino—kindled "sheik fever" across the Western world in the 1920s. A craze for all things romantically "Oriental" swept through fashion, film, and literature, spawning imitations and parodies without number. While that fervor has largely subsided, tales of passion between Western women and Arab men continue to enthrall readers of today's mass-market romance novels. In this groundbreaking cultural history, Hsu-Ming Teo traces the literary lineage of these desert romances and historical bodice rippers from the twelfth to the twenty-first century and explores the gendered cultural and political purposes that they have served at various historical moments.Drawing on "high" literature, erotica, and popular romance fiction and films, Teo examines the changing meanings of Orientalist tropes such as crusades and conversion, abduction by Barbary pirates, sexual slavery, the fear of renegades, the Oriental despot and his harem, the figure of the powerful Western concubine, and fantasies of escape from the harem. She analyzes the impact of imperialism, decolonization, sexual liberation, feminism, and American involvement in the Middle East on women's Orientalist fiction. Teo suggests that the rise of female-authored romance novels dramatically transformed the nature of Orientalism because it feminized the discourse; made white women central as producers, consumers, and imagined actors; and revised, reversed, or collapsed the binaries inherent in traditional analyses of Orientalism.

    This book is the first in English to focus on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in earnest in 1927, and left unfinished at the time of Warburg's death in 1929, the Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully, intuitively arranged some thousand black-and-white photographs of classical and Renaissance art objects, as well as of astrological and astronomical images ranging from ancient Babylon to Weimar Germany. Here and there, he also included maps, manuscript pages, and contemporary images taken from newspapers. Trying through these constellations of images to make visible the many polarities that fueled antiquity's afterlife, Warburg envisioned the Atlas as a vital form of metaphoric thought.While the nondiscursive, frequently digressive character of the Atlas complicates any linear narrative of its themes and contents, Christopher D. Johnson traces several thematic sequences in the panels. By drawing on Warburg's published and unpublished writings and by attending to Warburg's cardinal idea that "pathos formulas" structure the West's cultural memory, Johnson maps numerous tensions between word and image in the Atlas. In addition to examining the work itself, he considers the literary, philosophical, and intellectual-historical implications of the Atlas. As Johnson demonstrates, the Atlas is not simply the culmination of Warburg's lifelong study of Renaissance culture but the ultimate expression of his now literal, now metaphoric search for syncretic solutions to the urgent problems posed by the history of art and culture.

    If this assertion holds true, as Deborah R. Vargas suggests, then what are we to make of those singers and musicians whose representations of gender and sexuality are irreconcilable with canonical Chicano/Tejano music or what Vargas refers to as “la onda”? These are the “dissonant divas” Vargas discusses, performers who stimulate our listening for alternative borderlands imaginaries that are inaudible within the limits of “la onda.”Dissonant Divas in Chicana Music focuses on the Texan monument of the Alamo and its association with Rosita Fernandez; Tejano corrido folklore and its musical antithesis in Chelo Silva; the female accordion-playing bodies of Ventura Alonza and Eva Ybarra as incompatible with the instrumental labor of conjunto music; geography as national border, explored through the multiple national music scales negotiated by Eva Garza; and racialized gender, viewed through Selena’s integration of black diasporic musical sound. Vargas offers a feminist analysis of these figures’ contributions by advancing a notion of musical dissonance—a dissonance that recognizes the complexity of gender, sexuality, and power within Chicana/o culture.Incorporating ethnographic fieldwork, oral history, and archival research, Vargas’s study demonstrates how these singers work together to explode the limits of Texan, Chicano, Tejano, Mexican, and American identities.

    Anne Frank Unbound looks beyond this young girl's words at the numerous ways people have engaged her life and writing. Apart from officially sanctioned works and organizations, there exists a prodigious amount of cultural production, which encompasses literature, art, music, film, television, blogs, pedagogy, scholarship, religious ritual, and comedy. Created by both artists and amateurs, these responses to Anne Frank range from veneration to irreverence. Although at times they challenge conventional perceptions of her significance, these works testify to the power of Anne Frank, the writer, and Anne Frank, the cultural phenomenon, as people worldwide forge their own connections with the diary and its author.

    Conversational, humane, and forthright, Jennifer Moxley brings her remarkable strengths as a poet to bear on the essay tradition. At once literary and personal, THERE ARE THINGS WE LIVE AMONG follows the thread connecting texts and objects in her life, from her girlhood saddle to her mother's sewing machine, from her favorite books to an old set of frying pans. As she suggests, these things serve variously as accomplishments, talismans, fetishes, and keepers of lost life. Our attachments prove as diverse as our possessions, and yet, in the words of George Oppen that open these essays, to see them / Is to know ourselves.

    He argues that the widespread perception of singers and musicians as free individuals doing enjoyable and fulfilling work obscures the realities of their occupation. Stahl begins by considering the television show American Idol and the rockumentary Dig! (2004), tracing how narratives of popular music making in contemporary America highlight musicians' negotiations of the limits of autonomy and mobility in creative cultural-industrial work.Turning to struggles between recording artists and record companies over the laws that govern their contractual relationships, Stahl reveals other tensions and contradictions in this form of work. He contends that contract and copyright disputes between musicians and music industry executives, as well as media narratives of music making, contribute to American socioeconomic discourse and expose basic tensions between the democratic principles of individual autonomy and responsibility and the power of employers to control labor and appropriate its products. Stahl maintains that attention to the labor and property issues that he discloses in relation to musicians and the music industry can stimulate insights about the political, economic, and imaginative challenges currently facing all working people.Matt Stahl is Assistant Professor of Information and Media Studies at the University of Western Ontario."What makes Unfree Masters so significant is the fact that public struggles between musicians and the recording industry play out in less visible ways across all fields of employment. This is not simply a work of popular music studies. It is a major critique of the dominant relations between labor and capital in a postindustrial economy."—Barry Shank, coeditor of The Popular Music Studies Reader"Unfree Masters is an informative, intellectually engaging book. What really impressed me is how much I learned about copyright law, recording contracts, and music industry labor practices—subjects I thought I already knew a great deal about."—Kembrew McLeod, coauthor of Creative License: The Law and Culture of Digital Sampling

    Mimi Sheller offers a new theory of "citizenship from below" to describe the contest between "proper" spaces of legitimate high politics and the disavowed politics of lived embodiment. While acknowledging the internal contradictions and damaging exclusions of subaltern self-empowerment, Sheller roots out from beneath the historical archive traces of a deeper freedom, one expressed through bodily performances, familial relationships, cultivation of the land, and sacred worship.Attending to the hidden linkages among intimate realms and the public sphere, Sheller explores specific struggles for freedom, including women's political activism in Jamaica; the role of discourses of "manhood" in the making of free subjects, soldiers, and citizens; the fiercely ethnonationalist discourses that excluded South Asian and African indentured workers; the sexual politics of the low-bass beats and "bottoms up" moves in the dancehall; and the struggle for reproductive and LGBT rights and against homophobia in the contemporary Caribbean. Through her creative use of archival sources and emphasis on the connections between intimacy, violence, and citizenship, Sheller enriches critical theories of embodied freedom, sexual citizenship, and erotic agency in all post-slavery societies.

    Dominic Johnson argues that Smith's work offers critical strategies for rethinking art's histories after 1960. Heralded by peers as well as later generations of artists, Smith is an icon of the New York avant-garde. Nevertheless, he is conspicuously absent from dominant histories of American culture in the 1960s, as well as from narratives of the impact that decade would have on coming years. Smith poses uncomfortable challenges to cultural criticism and historical analysis, which Glorious Catastrophe seeks to uncover. The first critical analysis of Smith's practices across visual art, film, performance, and writing, the study employs extensive, original archival research carried out in Smith's personal papers, and unpublished interviews with friends and collaborators. It will be essential reading for students and scholars interested in the life and art of Jack Smith, and the greater histories that he interrupts, including those of experimental arts practices, and the development of sexual cultures.

    today, the "economy" is on everyone's mind. But what makes this rather opaque concept work? This collection of essays seeks out the answer by exploring contemporary capitalism from a variety of theoretical perspectives and by confronting the economy as a cultural system, a theory, and a driving force of every day life in the West. The first part of the book discusses past and present representation of capitalism (from Hegel and Marx to Negri and Florida) along with their continuing impact. The second part focuses on capitalism as a locus of power and resistance, and maps possible responses to the current situation. The roles of metaphor and discourse is examined throughout to rethink the implications of power in the context of globalization and consumer culture.Each chapter features an abstract, study questions, as well as further reading suggestions, which, along with its accessible theoretical coverage, will make the book an essential study tool for students in social and political thought, globalization, and social theory.

    Computers, the Internet, Web, mobile and other digital media are increasingly important technologies in the production and consumption of sports media. Sport Beyond Television analyzes the changes that have given rise to this situation, combining theoretical insights with original evidence collected through extensive research and interviews with people working in the media and sport industries. It locates sports media as a pivotal component in online content economies and cultures, and counteracts the scant scholarly attention to sports media when compared to music, film and publishing in convergent media cultures.An expanding array of popular sports media - industry, user, club, athlete and fan produced - is now available and accessible in networked digital communications environments. This change is confounding the thinking of major sports organizations that have lived off the generous revenue flowing from exclusive broadcast contracts with free-to-air and subscription television networks for the last five decades. These developments are creating commercial and policy confusion, particularly as sports audiences and the advertising market fragment in line with the proliferation of niche channels and sources of digital sports media.Chapters in this title examine the shift from broadcast to online sports media markets, the impact of social networking platforms like Twitter and Facebook, evolving user and fan practices, the changing character of sports journalism, and the rise of sports computer gaming. Each chapter traces the socio-cultural implications of trends and trajectories in media sport.

    

    and Chinese Multiculturalisms by Wen Jin is an extended comparison of U.S. and Chinese multiculturalisms during the post–Cold War era. Her book situates itself at the intersection of Asian American literary critique and the growing field of comparative multiculturalism. Through readings of fictional narratives that address the issue of racial and ethnic difference in both national contexts simultaneously, the author models a “double critique” framework for U.S.–Chinese comparative literary studies.            The book approaches U.S. liberal multiculturalism and China’s ethnic policy as two competing multiculturalisms, one grounded primarily in a history of racial desegregation and the other in the legacies of a socialist revolution. Since the end of the Cold War, the two multiculturalisms have increasingly been brought into contact through translation and other forms of mediation. Pluralist Universalism demonstrates that a number of fictional narratives, including those commonly classified as Chinese, American, and Chinese American, have illuminated incongruities and connections between the ethno-racial politics of the two nations.            The “double critique” framework builds upon critical perspectives developed in Asian American studies and adjacent fields. The book brings to life an innovative vision of Asian American literary critique, even as it offers a unique intervention in ideas of ethnicity and race prevailing in both China and the United States in the post–Cold War era.

    Arguing that consensus is a central theme of the epic, David Elmer analyzes in detail scenes in which the poem’s three political communities—Achaeans, Trojans, and Olympian gods—engage in the process of collective decision making.These scenes reflect an awareness of the negotiation involved in reconciling rival versions of the Iliad over centuries. They also point beyond the Iliad’s world of gods and heroes to the here-and-now of the poem’s performance and reception, in which the consensus over the shape and meaning of the Iliadic tradition is continuously evolving.Elmer synthesizes ideas and methods from literary and political theory, classical philology, anthropology, and folklore studies to construct an alternative to conventional understandings of the Iliad’s politics. The Poetics of Consent reveals the ways in which consensus and collective decision making determined the authoritative account of the Trojan War that we know as the Iliad.

    The West exists, this book argues, in the form of multiple traditions that have currency in America, Europe, the Americas, and a few outposts in the Southern hemisphere.Led by the British Empire until the beginning and by the United States since the middle of the twentieth century, Anglo-America has been at the very centre of world politics. Bridging the European and the American West, Anglo-America is distinctive, not unique. These multiple Wests coexist with each other and with other civilizations, as parts of one global civilization containing multiple modernities. And like all other civilizations, Anglo-America is marked by multiple traditions and internal pluralism. Once deeply held notions and practices of imperial rule and racial hierarchy now take the form of hegemony or multilateralism and politically contested versions of multiculturalism. At its core Anglo-America is fluid, not fixed. The analytical perspectives of this book are laid out in Katzenstein's opening and concluding chapters. They are explored in seven outstanding case studies, written by widely known authors, which combine historical and contemporary perspectives.Featuring an exceptional line-up and representing a diversity of theoretical views within one integrative perspective, this work will be of interest to all scholars and students of international relations, sociology and political science.

    They showcase scenes of intense sexual aggression and cruelty that are gendered in repetitive, patterned configurations-configurations that are designed to arouse. Purcell uses comparative critical analyses of popular pornographic movies to explore common fantasies of sexual violence and how they have changed over the past forty years. Adopting a thick descriptive approach, she moves beyond the mere observation and recording of instances of sexism and violence, elucidating the changing aesthetics, themes, and conventions of depicted sexual aggression and showing how they have emerged in specific socio-historical contexts. Purcell also draws from a range of industry publications and fan forums to examine the fabric and function of misogyny and violence in viewers' fantasies and everyday lives. By documenting how popular pornographies have changed over time, this study sheds new light the evolving desires and anxieties of the genre's growing U.S. audience.