He also maps out the external and internal forces that destroyed communism, and the disastrous impact of the “free-market” victory on eastern Europe and the former Soviet Union. He affirms the relevance of taboo ideologies like Marxism, demonstrating the importance of class analysis in understanding political realities and dealing with the ongoing collision between ecology and global corporatism.Written with lucid and compelling style, this book goes beyond truncated modes of thought, inviting us to entertain iconoclastic views, and to ask why things are as they are. It is a bold and entertaining exploration of the epic struggles of yesterday and today."A penetrating and persuasive writer with an astonishing array of documentation to implement his attacks."—The Catholic Journalist"Blackshirts & Reds discusses the great combat between fascism and socialism that is the defining feature of the Twentieth Century, and takes every official version to task for its substitution of moral analysis for critical analysis, for its selectivity, and for its errata. By portraying the struggle between fascism and Communism in this century as a single conflict, and not a series of discrete encounters, between the insatiable need for new capital on the one hand and the survival of a system under siege on the other, Parenti defines fascism as the weapon of capitalism, not simply an extreme form of it. Fascism is not an aberration, he points out, but a "rational" and integral component of the system."—Stan Goff, The PrismMichael Parenti, PhD Yale, is an internationally known author and lecturer. He is one of the nation's leadiing progressive political analysts. He is the author of over 275 published articles and twenty books. His writings are published in popular periodicals, scholarly journals, and his op-ed pieces have been in leading newspapers such as The New York Times and The Los Angeles Times. His informative and entertaining books and talks have reached a wide range of audiences in North America and abroad.

    Scenes of Subjection examines the forms of domination that usually go undetected; in particular, the encroachments of power that take place through notions of humanity, enjoyment, protection, rights, and consent. By looking at slave narratives, plantation diaries, popular theater, slave performance, freedmen's primers, and legal cases, Hartman investigates a wide variety of "scenes" ranging from the auction block and minstrel show to the staging of the self-possessed and rights-bearing individual of freedom.While attentive to the performance of power--the terrible spectacles of slaveholders' dominion and the innocent amusements designed to abase and pacify the enslaved--and the entanglements of pleasure and terror in these displays of mastery, Hartman also examines the possibilities for resistance, redress and transformation embodied in black performance and everyday practice.This important study contends that despite the legal abolition of slavery, emergent notions of individual will and responsibility revealed the tragic continuities between slavery and freedom. Bold and persuasively argued, Scenes of Subjection will engage readers in a broad range of historical, literary, and cultural studies.

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

    Born in Martinique in 1928, Glissant earned a doctorate from the Sorbonne. When he returned to his native land in the mid-sixties, his writing began to focus on the idea of a "relational poetics," which laid the groundwork for the "créolité" movement, fueled by the understanding that Caribbean culture and identity are the positive products of a complex and multiple set of local historical circumstances. Some of the metaphors of local identity Glissant favored—the hinterland (or lack of it), the maroon (or runaway slave), the creole language—proved lasting and influential.In Poetics of Relation, Glissant turns the concrete particulars of Caribbean reality into a complex, energetic vision of a world in transformation. He sees the Antilles as enduring suffering imposed by history, yet as a place whose unique interactions will one day produce an emerging global consensus. Arguing that the writer alone can tap the unconscious of a people and apprehend its multiform culture to provide forms of memory capable of transcending "nonhistory," Glissant defines his "poetics of relation"—both aesthetic and political—as a transformative mode of history, capable of enunciating and making concrete a French-Caribbean reality with a self-defined past and future. Glissant's notions of identity as constructed in relation and not in isolation are germane not only to discussions of Caribbean creolization but also to our understanding of U.S. multiculturalism. In Glissant's view, we come to see that relation in all its senses—telling, listening, connecting, and the parallel consciousness of self and surroundings—is the key to transforming mentalities and reshaping societies.This translation of Glissant's work preserves the resonating quality of his prose and makes the richness and ambiguities of his voice accessible to readers in English.

    His work has affected the teaching of any number of disciplines and remains, twenty years after his death, critically important. This newly available edition is drawn from the complete collection of all of Foucault's courses, articles, and interviews, and brings his most important work to a new generation of readers.Ethics (edited by Paul Rabinow) contains the summaries of Foucault's renowned courses at the Collège de France, paired with key writings and interviews on friendship, sexuality, and the care of the self and others.

    A Thousand Years of Nonlinear History sketches the outlines of a renewed materialist philosophy of history in the tradition of Fernand Braudel, Gilles Deleuze, and Félix Guattari, while engaging — in an entirely unprecedented manner — the critical new understanding of material processes derived from the sciences of dynamics. Working against prevailing attitudes that see history merely as the arena of texts, discourses, ideologies, and metaphors, De Landa traces the concrete movements and interplays of matter and energy through human populations in the last millennium. The result is an entirely novel approach to the study of human societies and their always mobile, semi-stable forms, cities, economies, technologies, and languages.De Landa attacks three domains that have given shape to human societies: economics, biology, and linguistics. In each case, De Landa discloses the self-directed processes of matter and energy interacting with the whim and will of human history itself to form a panoramic vision of the West free of rigid teleology and naive notions of progress and, even more important, free of any deterministic source for its urban, institutional, and technological forms. The source of all concrete forms in the West’s history, rather, is shown to derive from internal morphogenetic capabilities that lie within the flow of matter—energy itself.A Swerve Edition.

    This volume represents a major advance in presenting the most important writings about disability with an emphasis on those writers working from a materialist and postmodernist perspective.Drawing together experts in cultural studies, literary criticism, sociology, biology, the visual arts, pedagogy and post-colonial studies, the collection provides a comprehensive approach to the issue of disability. Contributors include Erving Goffman, Susan Sontag, Michelle Fine and Susan Wendell.

    Olson's theories, which made explicit the principles of his own poetics and those of the Black Mountain poets, were instrumental in defining the sense of the postmodern in poetry and form the basis of most postwar free verse.The Collected Prose brings together in one volume the works published for the most part between 1946 and 1969, many of which are now out of print. A valuable companion to editions of Olson's poetry, the book backgrounds the poetics, preoccupations, and fascinations that underpin his great poems. Included are Call Me Ishmael, a classic of American literary criticism; the influential essays "Projective Verse" and "Human Universe"; and essays, book reviews, and Olson's notes on his studies. In these pieces one can trace the development of his new science of man, called "muthologos," a radical mix of myth and phenomenology that Olson offered in opposition to the mechanistic discourse and rationalizing policy he associated with America's recent wars in Europe and Asia.Editors Donald Allen and Benjamin Friedlander offer helpful annotations throughout, and poet Robert Creeley, who enjoyed a long and mutually influential relationship with Olson, provides the book's introduction.

    Davis, and Toni Morrison, argue that we have reached a crisis of democracy represented by an ominous shift toward a renewed white nationalism in which racism is operating in coded, quasi-respectable new forms.

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

    'Al-tadbirat,' the largest, is a fascinating treatise on the divine design and management of the world, and the central role the human model plays in the creative and governing process. The other two are 'kitab kunh ma la budda minhu lil-murid' (or, "What the Seeker Needs"), a brief guide for those want to follow the Sufi path, and 'kitab al-ahadiyyah' (or, "The One Alone"), an esoteric essay on transcendental unity.

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

    With energy and passion, this anthology of writings documents the personal and collective political struggles of Chicana feminists.

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

    In Formless: A User's Guide, Yve-Alain Bois and Rosalind Krauss present a rich and compelling panorama of the formless. They chart its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production. In the domain of practice, they analyze it as an operational tool, the structural cunning of which has repeatedly been suppressed in the service of a thematics of art. Neither theme nor form, formless is, as Bataille himself expressed it, a job. The job of Formless: A User's Guide is to explore the power of the informe. A stunning new map of twentieth-century art emerges from this reconceptualization and from the brilliantly original analyses of the work of Jackson Pollock, Andy Warhol, Cy Twombly, Lucio Fontana, Cindy Sherman, Claes Oldenburg, Jean Dubuffet, Robert Smithson, and Gordon Matta-Clark, among others.

    She proposes an anthropology that is lived and written in a personal voice. She does so in the hope that it will lead us toward greater depth of understanding and feeling, not only in contemporary anthropology, but in all acts of witnessing.

    Arguing that the computer is rewriting the old conceptions of man and his world, it suggests that the telecoms revolution is also a sexual revolution which undermines the fundamental assumptions crucial to patriarchal culture. Historical, contemporary and future developments in telecommunications and in IT are interwoven with the past, present and future of feminism, women and sexual difference, and a wealth of connections, parallels and affinities between machines and women are uncovered as a result. Challenging the belief that man was ever in control of either his own agency, the planet, or his machines, this book argues it is seriously undermined by the new scientific paradigms emergent from theories of chaos, complexity and connectionism, all of which suggest that the old distinctions between man, woman, nature and technology need to be radically reassessed.

    His body of theoretical work and extraordinary drawings have served as inspiration for architects, artists, and legions of students. Radical Reconstruction, now available in paperback for the first time, contains projects that address the relationships between architecture and war, political revolution/reaction, and natural disasters. These projects define new approaches to the reconstruction of buildings and urban fabric damaged by unpredictable and largely uncontrollable forces of both human and natural origin.

    This critique of scholastic reason can be made in the name of Pascal because his thought expressed the features of human existence which the scholastic outlook ignores - his concern with symbolic power, his refusal of the ambition of foundation, his attention, devoid of all populist naivete, to ordinary people and his determination to seek the raison d'etre of the seemingly most illogical behaviour rather than condemning or mocking it.

    Drawing attention to the political forces that have spawned, shaped, and perpetuated these misrepresentations since colonial times, Uma Narayan inspects the underlying problems which "culture" poses for the respect of difference and cross-cultural understanding.Questioning the problematic roles assigned to Third World subjects within multiculturalism, Narayan examines ways in which the flow of information across national contexts affects our understanding of issues. Dislocating Cultures contributes a philosophical perspective on areas of ongoing interest such as nationalism, post-colonial studies, and the cultural politics of debates over tradition and "westernization" in Third World contexts.

    Illouz studies how individual conceptions of love overlap with the world of clichés and images she calls the "Romantic Utopia." This utopia lives in the collective imagination of the nation and is built on images that unite amorous and economic activities in the rituals of dating, lovemaking, and marriage.Since the early 1900s, advertisers have tied the purchase of beauty products, sports cars, diet drinks, and snack foods to success in love and happiness. Illouz reveals that, ultimately, every cliché of romance—from an intimate dinner to a dozen red roses—is constructed by advertising and media images that preach a democratic ethos of consumption: material goods and happiness are available to all.Engaging and witty, Illouz's study begins with readings of ads, songs, films, and other public representations of romance and concludes with individual interviews in order to analyze the ways in which mass messages are internalized. Combining extensive historical research, interviews, and postmodern social theory, Illouz brings an impressive scholarship to her fascinating portrait of love in America.

    For both thinkers, the word adieu names a fundamental characteristic of human being: the salutation or benediction prior to all constative language (in certain circumstances, one can say adieu at the moment of meeting) and that given at the moment of separation, sometimes forever, as at the moment of death, it is also the a-dieu, for God or to God before and in any relation to the other. In this book, Derrida extends his work on Levinas in previously unexplored directions via a radical rereading of Totality and Infinity and other texts, including the lesser-known talmudic readings. He argues that Levinas, especially in Totality and Infinity, bequeaths to us an "immense treatise of hospitality," a meditation on the welcome offered to the other. The conjunction of an ethics of pure prescription with the idea of an infinite and absolute hospitality confronts us with the most pressing political, juridical, and institutional concerns of our time. What, then, is an ethics and what is a politics of hospitality? And what, if it ever is, would be a hospitality surpassing any ethics and any politics we know?As always, Derrida raises these questions in the most explicit of terms, moving back and forth between philosophical argument and the political discussion of immigration laws, peace, the state of Israel, xenophobia—reminding us with every move that thinking is not a matter of neutralizing abstraction, but a gesture of hospitality for what happens and still may happen.

    

    Using visual material, this book reconstructs the origins of that system, devised for teaching young children about art, design, mathematics and natural history.

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

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

    Literary Criticism. Asian American Studies. The materials of the Japanese poet Araki Yasusada (1907-1972) were published in Grand Street, CONJUNCTIONS, Abiko Quarterly, FIRST INTENSITY, Stand and The American Poetry Review. Gradually, the rumor began circulating that Araki Yasusada did not exist and that the poems were a hoax perpetrated by the Japanese-American author Tosa Motokiyu or by his literary executor, the American poet Kent Johnson. The 'scandal' of these poems lies not in the problematics of authorship, identity, persona, race or history. Rather, these are wonderful works of writing that also invoke all of these other issues, never relying on them to prop up a text. This book makes the argument for anti-essentialism--Ron Silliman. This is essentially a criminal act--Arthur Vogelsang.

    This second edition features 25 new essays and a new introduction by Adrien Katherine Wing.Critical Race Feminism gives voice to African American, Latina, Asian, Native American, and Arab women, both heterosexual and lesbian. Both a forceful statement and a platform for change, the anthology addresses an ambitious range of subjects, from life in the workplace and motherhood to sexual harassment, domestic violence, and other criminal justice issues. Extending beyond national borders, the volume tackles global issues such as the rights of Muslim women, immigration, multiculturalism, and global capitalism.Revealing how the historical experiences and contemporary realities of women of color are profoundly influenced by a legacy of racism and sexism that is neither linear nor logical, Critical Race Feminism serves up a panoramic perspective, illustrating how women of color can find strength in the face of oppression.

    Since the publication in France of his Oeuvres Completes in the mid-1970s, the breadth of Bataille's writing and influence has become increasingly apparent across the disciplines in, for example, the fields of literature, art, art history, philosophy, critical theory, sociology, economics, and anthropology.

    To be dominated by a power external to oneself is a familiar and agonizing form power takes. To find, however, that what “one” is, one's very formation as a subject, is dependent upon that very power is quite another. If, following Foucault, we understand power as forming the subject as well, it provides the very condition of its existence and the trajectory of its desire. Power is not simply what we depend on for our existence but that which forms reflexivity as well. Drawing upon Hegel, Nietzsche, Freud, Foucault, and Althusser, this challenging and lucid work offers a theory of subject formation that illuminates as ambivalent the psychic effects of social power.If we take Hegel and Nietzsche seriously, then the "inner life" of consciousness and, indeed, of conscience, not only is fabricated by power, but becomes one of the ways in which power is anchored in subjectivity. The author considers the way in which psychic life is generated by the social operation of power, and how that social operation of power is concealed and fortified by the psyche that it produces. Power is no longer understood to be "internalized" by an existing subject, but the subject is spawned as an ambivalent effect of power, one that is staged through the operation of conscience.To claim that power fabricates the psyche is also to claim that there is a fictional and fabricated quality to the psyche. The figure of a psyche that "turns against itself" is crucial to this study, and offers an alternative to describing power as “internalized.” Although most readers of Foucault eschew psychoanalytic theory, and most thinkers of the psyche eschew Foucault, the author seeks to theorize this ambivalent relation between the social and the psychic as one of the most dynamic and difficult effects of power.This work combines social theory, philosophy, and psychoanalysis in novel ways, offering a more sustained analysis of the theory of subject formation implicit in such other works of the author as Bodies That Matter: On the Discursive Limits of "Sex" and Gender Trouble: Feminism and the Subversion of Identity.

    A book of history, theory and polemic, the authors show how, if we are to survive, economies must become needs-based, environmentally sustainable, co-operative and local. They explain how the current capitalist system is none of these things, is inherently unstable and is dependent on the exploitation of various marginalized groups, particularly women, and of the environment. They call instead for a new politics and economics based on subsistence and present examples of such a perspective in practice.

    First published in Italian to widespread acclaim, Relating Narratives is a fascinating and challenging new account of the relationship between selfhood and narration. Drawing a diverse array of thinkers from both the philosophical and the literary tradition, from Sophocles and Homer to Hannah Arendt, Karen Blixen, Walter Benjamin and Borges, Adriana Cadarero's theory of the `narratable self' shows how narrative models in philosophy and literature can open new ways of thinking about formation of human identities. By showing how each human being has a unique story that can be told about them, Adriana Cavarero inaugurates an important shift in thinking about subjectivity and identity which relies not upon categorical or discursive norms, but rather seeks to account for `who' each one of us uniquely is.

    The Social Contract was publicly condemned on publication causing Rousseau to flee. In exile he wrote both autobiographical and political works.

    Feminist theorists, in particular, have focused on the female body as the site where representations of difference and identity are inscribed. Drawn from a broad range of disciplines, Writing on the Body explores the tensions between women's lived bodily experiences and the cultural meanings inscribed on the female body. The volume includes classic and contemporary essays on rape, pornography, eroticism, anorexia, body building, menstruation, and maternity, and challenges racial, class and sexual categories. Complemented by the editors' introduction, Writing on the Body is a comprehensive sourcebook on the major theoretical positions and critical trends surrounding the female body.

    In that moment they are recognized and heard. In Speaking for the Generations, Acoma Pueblo poet Simon Ortiz brings together contemporary Native American writers to take their turn. Each offers an evocation of herself or himself, describing the personal, social, and cultural influences on her or his development as a writer. Although each writer's viewpoint is personal and unique, together they reflect the rich tapestry of today's Native literature. Of varied backgrounds, the writers represent Indian heritages and cultures from the Pacific Northwest to the northern plains, from Canada to Guatemala. They are poets, novelists, and playwrights. And although their backgrounds are different and their statements intensely personal, they share common themes of their relationship to the land, to their ancestors, and to future generations of their people. From Gloria Bird's powerful recounting of personal and family history to Esther Belin's vibrant tale of her urban Native homeland in Los Angeles, these writers reveal the importance of place and politics in their lives. Leslie Marmon Silko calls upon the ancient tradition of Native American storytelling and its role in connecting the people to the land. Roberta J. Hill and Elizabeth Woody ponder some of the absurdities of contemporary Native life, while Guatemalan Victor Montejo takes readers to the Mayan world, where a native culture had writing and books long before Europeans came. Together these pieces offer an inspiring portrait of what it means to be a Native writer in the twentieth century. With passion and urgency, these writers are speaking for themselves, for their land, and for the generations.

    Routledge is an imprint of Taylor & Francis, an informa company.

    Hence its internal difficulty, its quasi-inaccessibility, is all the more tragic, since, unlike most metaphysical endeavors, it is capable of interpreting and unifying theories in the above sciences in terms of an organic world view, instead of selecting one theory as the paradigm and reducing all others to it. Because Alfred North Whitehead is so crucial to modern philosophy, The Metaphysics of Experience plays an important role in making Process and Reality accessible to a wider readership.

    Drawing on prehistory, protohistory, and Gallo-Roman antiquity, the twenty-six essays in this book focus on a particular place or artifact for the relevance inherent in each. A Bronze Age earring or the rippling wave pattern in Massiolite ceramic are more than archival curiosities for Sobin. Instead they invite inquiry and speculation on existence itself: Artifacts are read as realia, and history as an uninterrupted sequence of object lessons.As much travel writing as meditative discourse, Luminous Debris is enhanced by a prose that tracks, questions, and reflects on the materials invoked. Sobin engages the reader with precise descriptions of those very materials and the messages to be gleaned from their examination, be they existential, ethical, or political.An American expatriate living in Provence for the past thirty-five years, Gustaf Sobin shares his enthusiasm for his adopted landscape and for a vertical interpretation of its strata. In Luminous Debris he creates meaning out of matter and celebrates instances of reality, past and present.

    The quintessential examination of women, gynecology is not simply the study of women’s bodies, but also serves to define and constitute them. Any critical analysis of gynecology is therefore, as Kapsalis affirms, an investigation of what it means to be female. In this respect she considers the public exposure of female "privates" in the performance of the pelvic exam. From J. Marion Sims’s surgical experiments on unanesthetized slave women in the mid-nineteenth century, to the use of cadavers and prostitutes to teach medical students gynecological techniques, Kapsalis focuses on the ways in which women and their bodies have been treated by the medical establishment. Removing gynecology from its private cover within clinic walls and medical textbook pages, she decodes the gynecological exam, seizing on its performative dimension. She considers traditional medical practices and the dynamics of "proper" patient performance; non-traditional practices such as cervical self-exam; and incarnations of the pelvic examination outside the bounds of medicine, including its appearance in David Cronenberg’s film Dead Ringers and Annie Sprinkle’s performance piece "Public Cervix Announcement." Confounding the boundaries that separate medicine, art, and pornography, revealing the potent cultural attitudes and anxieties about women, female bodies, and female sexuality that permeate the practice of gynecology, Public Privates concludes by locating a venue from which challenging, alternative performances may be staged.

    Centering on groups of avant-garde poets, the study particularly attends to those poets whose radical forms of new writing formed the basis for much of what followed in the Black Arts period. Exploring the farthest reaches of black creative experimentation in words and music, Black Chant yields an invaluable reassessment of African-American cultural history as it has been shaped throughout the era we now call postmodern.

    In this investigation of the possibility of craft in the digital realm, Malcolm McCullough observes that the emergence of computation as a medium, rather than just as a set of tools, suggests a growing correspondence between digital work and traditional craft.

    history: the Vietnam War and the AIDS epidemic. Each, Marita Sturken argues, disrupts our conventional understanding of nationhood, identity, and American culture. She brilliantly compares the Vietnam Veterans Memorial and the AIDS Quilt as key sites where cultural memory is produced and debated. While debunking the characterization of the United States as a culture of amnesia, Sturken shows that remembering is itself a form of forgetting, and memory an inventive social practice.Sturken's immensely readable and multilayered work considers films, memorials, and bodies as commemorative media. She shows how television images of events like the Challenger explosion and the Gulf War and Hollywood films about the Vietnam War feed into "official histories" and operate in concert with cultural objects like yellow and red ribbons, AIDS activist posters, photographs of the immune system, and alternative art works to mediate concepts of identity and nationalism. Tangled Memories illuminates not only how cultural memories are produced and embodied but also what desires, needs, and fantasies they satisfy.

    The Western notion of the aggressive, sexually dominant male and the passive female reaches back through Freud to Roman times, but as Boyarin makes clear, such gender roles are not universal. Analyzing ancient and modern texts, he reveals early rabbis—studious, family-oriented—as exemplars of manhood and the prime objects of female desire in traditional Jewish society.Challenging those who view the "feminized Jew" as a pathological product of the Diaspora or a figment of anti-Semitic imagination, Boyarin argues that the Diaspora produced valuable alternatives to the dominant cultures' overriding gender norms. He finds the origins of the rabbinic model of masculinity in the Talmud, and though unrelentingly critical of rabbinic society's oppressive aspects, he shows how it could provide greater happiness for women than the passive gentility required by bourgeois European standards.Boyarin also analyzes the self-transformation of three iconic Viennese modern Jews: Sigmund Freud, the father of psychoanalysis; Theodor Herzl, the founder of Zionism; and Bertha Pappenheim (Anna O.), the first psychoanalytic patient and founder of Jewish feminism in Germany. Pappenheim is Boyarin's hero: it is she who provides him with a model for a militant feminist, anti-homophobic transformation of Orthodox Jewish society today.Like his groundbreaking Carnal Israel, this book is talmudic scholarship in a whole new light, with a vitality that will command attention from readers in feminist studies, history of sexuality, Jewish culture, and the history of psychoanalysis.

    The authors' focus on authoritative knowledge—the knowledge that counts, on the basis of which decisions are made and actions taken—highlights the vast differences between birthing systems that give authority of knowing to women and their communities and those that invest it in experts and machines.Childbirth and Authoritative Knowledge offers first-hand ethnographic research conducted by anthropologists in sixteen different societies and cultures and includes the interdisciplinary perspectives of a social psychologist, a sociologist, an epidemiologist, a staff member of the World Health Organization, and a community midwife. Exciting directions for further research as well as pressing needs for policy guidance emerge from these illuminating explorations of authoritative knowledge about birth. This book is certain to follow Jordan's Birth in Four Cultures as the definitive volume in a rapidly expanding field.

    It was a turbulent time, marked by revolutionary developments in culture and religion, social conflict, political upheaval, and civil war. It was also an age of passionate debate and radical innovation in political theory and practice. Many contemporary political ideologies and concepts--ideas of the state, civil society, property, and individual rights, to name a few--can trace their ancestry to this era.Illuminating the roots of contemporary Western political thought, A Trumpet of Sedition surveys canonical texts by prominent thinkers such as Thomas More, Richard Hooker, Thomas Hobbes, and John Locke, radicals like the Levellers and Gerrard Winstanley and other less well known but important figures. In clear and lively prose, while situating them in their social and political context in new and original ways and contrasting the English case to others in Europe. By examining political ideas not merely as free-floating abstractions but as living encounters with the historical experience--the formation of the English state and the rise of agrarian capitalism--A Trumpet of Sedition illuminates the roots of contemporary Western political thought.

    Bruce Benderson, novelist and commentator, takes you on a philosophical and personal journey into new and old bohemia. His last stop is vanishing Times Square, where middle class thrill-seekers used to have contact with underclass dealers and hustlers. In this book-length essay, written in the tradition of the old-style manifesto, Benderson seeks to restore id to the creative act. His perverse yet courageous goal is to invent a "new degeneracy."

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

    The Second Edition contains a complete listing of virtually every pricing formula_ all presented in an easy-to-use dictionary format, with expert author commentary and ready-to-use programming code. The Second Edition of this classic guide now includes more than 60 new option models and formulas?extensive tables providing an overview of all formulas?new examples and applications?and an updated CD containing all pricing formulas, with VBA code and ready-to-use Excel spreadsheets. The volume also features several new chapters covering such things as: option sensitivities, discrete dividend, commodity options, and two chapters on numerical methods covering trees, finite difference and Monte Carlo Simulation. The new edition of The Complete Guide to Option Pricing Formulas offers quick access to: Options Pricing Overview Black-Scholes-Merton Black-Scholes-Merton Greeks Analytical Formulas for American Options Exotic Options Single Asset Exotic Options on Two Assets Black-Scholes-Merton Adjustments and Alternatives Trees and Finite Difference Methods Monte Carlo Simulation Options on Stocks that Pay Discrete Dividends Commodity and Energy Options Interest Rate Derivatives Volatility and Correlation Distributions Some Useful Formulas: Interpolation, Interest Rates, and Risk-Reward Measures This all-in-one options pricing guide contains a numerical example or a table with values for each option pricing formula. The book also includes a helpful glossary of notations, as well as an extensive bibliography of related books and articles.

    A sequestered aristocracy promenaded in formal gardens while the military moved across the landscape, marking state boundaries with fortresses and refiguring the interior with canals and forests. Chandra Mukerji highlights the connections between the seemingly disparate activities of engineering and garden design, showing how the gardens at Versailles showcased French skills in using nature and art to design a distinctively French landscape and create a naturalized political territoriality.

    Naoki Sakai turns this thinking on its head, and shows how this unity of language really only exists in our manner of representing translation. In analyses of translational transactions and with a focus on the ethnic, cultural, and national identities of modern Japan, he explores the cultural politics inherent in translation. Through the schematic representation of translation, one language is rendered in contrast to another as if the two languages are clearly different and distinct. And yet, Sakai contends, such differences and distinctions between ethnic or national languages (or cultures) are only defined once translation has already rendered them commensurate. His essays thus address translation as a means of figuring (or configuring) difference.

    A singular achievement of stylistic brio and impeccable scholarship, it breaks new ground in making a powerful case for treating Derrida as homo religiosis.... There can be no mistaking the importance of Caputo's work." --Edith Wyschogrod"No one interested in Derrida, in Caputo, or in the larger question of postmodernism and religion can afford to ignore this pathbreaking study. Taking full advantage of the most recent and least discussed writings of Derrida, it offers a careful and comprehensive account of the religious dimension of Derrida's thought." --Merold Westphal

    David Pascoe examines not only Greenaway's films, but also his paintings, exhibitions and installations."[Pascoe] tirelessly explicates the numerology and mytho-mania that are the film-maker's organising principles"—The Guardian"A supremely intelligent, utterly tuned-in, definitive exploration of the ultimate British auteur's back catalogue, helpfully illustrated at every opportunity. . . illuminating"—Empire

    It is also the first sustained attempt to integrate the American approach to law, an uneasy balance of deep commitment and intense skepticism, with the Continental tradition in social theory, philosophy, and psychology.At the center of this work is the question of how politics affects judicial activity-and how, in turn, lawmaking by judges affects American politics. Duncan Kennedy considers opposing views about whether law is political in character and, if so, how. He puts forward an original, distinctive, and remarkably lucid theory of adjudication that includes accounts of both judicial rhetoric and the experience of judging. With an eye to the current state of theory, legal or otherwise, he also includes a provocative discussion of postmodernism.Ultimately concerned with the practical consequences of ideas about the law, A Critique of Adjudication explores the aspects and implications of adjudication as few books have in this century. As a comprehensive and powerfully argued statement of a critical position in modern American legal thought, it will be essential to any balanced picture of the legal, political, and cultural life of our nation.

    Mark Neocleous situates fascism between the social and political contradictions of modernity and capitalism. In many ways a reaction to the principal political project of the Enlightenment, fascism focuses on three central concepts - war, nature, and nation - in order to crush violently movements of ideologies of social emancipation such as Marxism and liberalism. The destruction of reason that fascism represents shatters Enlightenment universalism and transforms the desire for social liberation into an aggressive nationalism, with devastating effects on human life.

    Rhapsodies in Black: Art of the Harlem Renaissance examines the cultural reawakening of Harlem in the 1920s and 1930s as a key moment in twentieth-century art history, one that transcended regional and racial boundaries. Published to coincide with the exhibition that opens in England and travels to the United States, this catalog reflects the Harlem Renaissance's impressive range of art forms—literature, music, dance, theater, painting, sculpture, photography, film, and graphic design. The participants included not only artists based in New York, but also those from other parts of the United States, the Caribbean, and Europe.Richard J. Powell and David A. Bailey present selected works that focus on six themes: Representing "The New Negro;" Another Modernism; Blues, Jazz, and the Performative Paradigm; The Cult of the Primitive; Africa: Inheritance and Seizure; and Jacob Lawrence's Toussaint L'Ouverture series. The visual arts from 1919 to 1938 included in the book suggest the extraordinary vibrancy of the time when Harlem was a metaphor for modernity. In spite of the importance of the Harlem Renaissance to early twentieth-century American culture and to the artistic climate of "Jazz Age" Paris and Weimar Berlin, few art exhibitions have been devoted exclusively to the subject. Rhapsodies in Black will be welcomed for its unique presentation of this creative time.

    Robert J. Corber argues that a form of gay male identity emerged in the 1950s that simultaneously drew on and transcended left-wing opposition to the Cold War cultural and political consensus. Combining readings of novels, plays, and films of the period with historical research into the national security state, the growth of the suburbs, and postwar consumer culture, Corber examines how gay men resisted the "organization man" model of masculinity that rose to dominance in the wake of World War II. By exploring the representation of gay men in film noir, Corber suggests that even as this Hollywood genre reinforced homophobic stereotypes, it legitimized the gay male "gaze." He emphasizes how film noir’s introduction of homosexual characters countered the national "project" to render gay men invisible, and marked a deep subversion of the Cold War mentality. Corber then considers the work of gay male writers Tennessee Williams, Gore Vidal, and James Baldwin, demonstrating how these authors declined to represent homosexuality as a discrete subculture and instead promoted a model of political solidarity rooted in the shared experience of oppression. Homosexuality in Cold War America reveals that the ideological critique of the dominant culture made by gay male authors of the 1950s laid the foundation for the gay liberation movement of the following decade.

    It is essential reading for anyone interested in Grotowski's life and work.Edited by the two leading experts on Grotowski, the sourcebook features: *essays from the key performance theorists who worked with Grotowski, including Eugenio Barba, Peter Brook, Jan Kott, Eric Bentley, Harold Clurman, and Charles Marowitz*writings which trace every phase of Grotowski's career from his 'theatre of production' to 'objective drama' and 'art as vehicle'*a wide-ranging collection of Grotowski's own writings, plus an interview with his closest collaborator and 'heir', Thomas Richards*an array of photographs documenting Grotowski and his followers in action*a historical-critical study of Grotowski by Richard Schechner.

    Deconstructing the Hero offers analytical readings of some of the most widely read adventure stories such as Treasure Island, the James Bond stories and Star Wars. The book describes how adventure stories are influential in shaping children's perception and establishing values. When many of these stories define non-white, non-European people as inferior, and women as marginal or incapable, we should be worried about what they are teaching our children to think. Margery Hourihan shows how teaching children to read books critically can help to prevent the establishment of negative attitudes, discourage aggression and promote values of emotion and creativity.

    In this book, Geoffrey Batchen analyzes the desire to photograph as it emerged within the philosophical and scientific milieus that preceded the actual invention of photography. Recent accounts of photography's identity tend to divide between the postmodern view that all identity is determined by context and a formalist effort to define the fundamental characteristics of photography as a medium. Batchen critiques both approaches by way of a detailed discussion of photography's conception in the late eighteenth and early nineteenth centuries. He examines the output of the various nominees for first photographer, then incorporates this information into a mode of historical criticism informed by the work of Michel Foucault and Jacques Derrida. The result is a way of thinking about photography that persuasively accords with the medium's undeniable conceptual, political, and historical complexity.

    Their day-to-day lives are defined by their past history as colonized peoples, often in ways that are subtle or hard to define. In Dangerous Liaisons, eminent contributors address the issues raised by the postcolonial condition, considering nationhood, history, gender, and identity from an inter-disciplinary perspective.Among the questions they address are: What are the boundaries of race and ethnicity in a diasporic world? How have women been so effectively excluded from national power? What have been the historical aftermaths of different forms of colonialism? What are the cultural and political consequences of colonial partitions of the nation-state? Representing an essential intervention, Dangerous Liaisons is a crucial guidebook for those concerned with understanding postcoloniality at the moment when it is becoming more and more widely discussed.

    Comprehensive in scope and international in outlook, the encyclopedia contains some 700 entries by 422 contributors in 20 countries. An index provides access to material not obvious at first glance through the main body of the book, and all works cited more than once in the encyclopedia are included in an extensive bibliography. A brief historical preface and a guide to using the encyclopedia are included. This paperback edition brings this tool within range of all Spenser scholars.

    Mario DiGangi analyzes the relation between homoeroticism and social power in a wide range of literary and historical texts from the 1580s to the 1620s, drawing on the insights of materialist, feminist and queer theory. Each chapter focuses on the homoerotics of a major dramatic genre (Ovidian comedy, satiric comedy, tragedy and tragicomedy) and studies the ideologies and institutions it characteristically explores.

    As an overtly didactic genre, dystopia extrapolates terrifying near-futures from disturbing current trends. In order to quickly create an atmosphere that is at once plausible and terrifying, dystopian writers almost universally turn to an idea certain to generate both fear and sympathy in the reader--the dual concept of language as the primary tool by which repressive societies stifle dissent, and simultaneously as the primary weapon used by rebels bent on understanding, resisting, and countering such oppression. This volume traces the evolution of language's centrality in 20th-century dystopias in English, including Brave New World, 1984, A Clockwork Orange, The Handmaid's Tale, Native Tongue, The Judas Rose, and Riddley Walker.The brilliance of Orwell's 1984 has led to a backlash: many critics have smugly asserted that, as the year 1984 has passed without taking the shape of his fiction, Orwell's novel and the dystopia in general have lost their affective power and relevance. But as the 20th century progresses, dystopian fiction has gained power as utopian fiction has become increasingly irrelevant. As an overtly didactic genre, dystopia extrapolates terrifying near-futures from disturbing current trends. In order to quickly create an atmosphere that is at once plausible and terrifying, dystopian writers almost universally turn to an idea certain to generate both fear and sympathy in the reader--the dual concept of language as the primary tool by which repressive societies stifle dissent, and simultaneously as the primary weapon used by rebels bent on understanding, resisting, and countering such oppression.This volume traces the evolution of language's centrality in 20th-century dystopias in English, beginning with Huxley's ^IBrave New World^R and Orwell's ^I1984^R. As dystopian fiction has branched out to embrace multiple viewpoints and agendas, the emphasis on language has remained at the center of the dystopian impulse. These include the first-person narrative dystopia, such as Anthony Burgess's ^IA Clockwork Orange^R; the feminist dystopia, such as Margaret Atwood's ^IThe Handmaid's Tale^R and Suzette Elgin's ^INative Tongue^R and ^IThe Judas Rose^R; and the post-apocalyptic/mythic dystopia, such as Russell Hoban's ^IRiddley Walker^R. While other scholars have often alluded to the importance of language within specific literary dystopias, this book transcends earlier studies by presenting a generic model of dystopian language use.

    This volume also contains an extensive bibliography, arranged by country, and profiles of the foreign observers who sought the implications for European culture in what Asa Briggs called the "shock city" of the western world.

    Firestone sees negative events in our lives as being less harmful than what we tell ourselves about them, which can result in a downward spiral of negative internal conversations. Wi

    Analyzing different instances of injured bodies, Peggy Phelan considers what sustained attention to the affective force of trauma might yield for critical theory. Advocating what she calls "performative writing", she creates an extraordinary fusion of critical and creative thinking which erodes the distinction between art and theory, fact and fiction. The bodies she examines here include Christ's, as represented in Caravaggio's painting The Incredulity of St Thomas, Anita Hill's and Clarence Thomas's bodies as they were performed during the Senate hearings, the disinterred body of the Rose Theatre, exemplary bodies reconstructed through psychoanalytic talking cures, and the filmic bodies created by Tom Joslin, Mark Massi, and Peter Friedman in Silverlake Life: The View From Here. This new work by the highly-acclaimed author of Unmarked makes a stunning advance in performance theory in dialogue with psychoanalysis, queer theory, and cultural studies.

    Her account of the resulting cognitive and rhetorical dynamics of intellectual conflict draws on recent research and theory in evolutionary biology, neuroscience, developmental psychology, and the history and sociology of science, as well as on contemporary philosophy and language theory.Smith's analyses take her into important ongoing debates over the possibility of an objective grounding of legal and political judgments, the continuing value of Enlightenment rationalism, significant challenges to dominant ideas of scientific truth, and proper responses to denials of the factuality of the Holocaust. As she explores these and other controversies, Smith develops fresh ways to understand their motives and energies, and more positive ways to see the operations of intellectual conflict more generally.

    Combining autobiographical reflection with philosophical enquiry, Derrida illuminates the ideas that have characterized his thought from its beginning to the present day. If there is one feature that links these contributions, it is the theme of singularity - the uniqueness of the individual, the resistance of existence to philosophy, the temporality of the singular and exceptional moment, and the problem of exemplarity. The second half of this book contains an essay by Maurizio Ferraris, in which he explores the questions of indication, time and the inscription of the transcendental in the empirical. A work of outstanding philosophy and scholarship, the essay is developed in close proximity to Derrida and in dialogue with figures such as Plato, Aristotle, Plotinus, Kant, Hegel and Heidegger. It thereby provides a useful introduction to the philosophy of one of Italy's most prominent philosophers as well as an excellent complement to Derrida's own ideas. A Taste for the Secret consists of material that has never before appeared in English. It will be of interest to second-year undergraduates, graduate students and academics in philosophy, modern languages, literature, literary theory and the humanities generally.

    With reference to contemporary and historical issues in biomedicine, the book argues that the boundaries of both the subject and the body are no longer secure. The aim is both to valorise women and to suggest that 'leakiness' may be the very ground for a postmodern feminist ethic. The contribution made by Leaky Bodies and Boundaries is to go beyond modernist feminisms to radically displace the mechanisms by which women are devalued. The anxiety that postmodernism cannot yield an ethics, nor advance feminist concerns is addressed. This book will provide invaluable reading for those studying feminist philosophy, cultural studies and sociology.

    Drawing on theories of postmodernism and narratology, she shows how postmodern narratives break up the concept of plot into a spectrum of contradictory story lines that allow new conceptions of history and posthistory to emerge. This wide-ranging study offers new readings of postmodernist theory and fresh insight into the often vexing relationship between literature and science.

    Sharpley-Whiting skillfully brings together approaches from a broad range of academic fields, including critical race theory, literary and cultural criticism, and psychoanalysis as she assesses the relevance of Fanon's theories of oppression to a feminist politics of resistance.

    Douglas Robinson begins with a general presentation of postcolonial theory, examines current theories of the power differentials that control what gets translated and how, and traces the historical development of postcolonial thought about translation. He also explores the negative and positive impact of translation in the postcolonial context, reviewing various critiques of postcolonial translation theory and providing a glossary of key words. The result is a clear and useful guide to some of the most complex and critical issues in contemporary translation studies.

    This wide-ranging volume covers Williams' works, from the early apprenticeship years through to his last play before his death in 1983. In addition to essays on the major plays, the contributors also consider selected minor plays, short stories, poems, and biographical concerns. The Cambridge Companion to Tennessee Williams also features a bibliographic essay surveying the major critical statements on Williams.

    We are not conscious of the staggering complexity of the cognitive operations that drive our simplest behavior. This book reveals the creativity that underlies our effortless use of language in everyday life, when we engage in conversation, understand humor, or solve puzzles. The capacities and principles that we develop from infancy for ordinary thinking and talking are also the ones that drive scientific and artistic thought, high-level reasoning, and conceptual change. Researchers and graduate students in linguistics, cognitive science, and philosophy of language will find this text to be a fascinating addition to their collections.

    A study of the foundations of modern probability, covering topics such as stochastic integrals and quadratic variation, martingales and optional times, Feller processes and semigroups, and Poisson and pure jump type Markov processes.

    This book applies Marxist theory to archaeology, explores long-term historical change and cultural evolution, and advocates a dialectical and historical approach to the study of the past. Originally published by Academic Press in 1992, this edition features a new prologue by the author.

    Together the essays present a coherent theory of the way in which each successive phase of Jewish literature has drawn upon and reimagined the previous ones. The book is organized into four sections: The Ancient Models; The Folk Tradition; Mythic Echoes; and Modern Jewish Literature and the Ancient Models. Within these divisions, each of the essays focuses on a specific genre, ranging from Torah and Aggadah to Kabbalah, fairy tales, and the modern Yiddish stories of S.Y. Agnon and Isaac Bashevis Singer.Arguing the important thesis that there is a continuity in Jewish literature which extends from the Biblical era to our own times--a period of over 3,000 years--this collection also serves as a guide to the history of that literature, and to the genres it comprises.

    Small in scale, low in price, but large in impact, these books present and disseminate new and innovative theories. The modest format of the books in the Pamphlet Architecture Series belies the importance and magnitude of the ideas within.

    Today, in the United States and Britain, his enormous body of work is attracting new generations of readers: more translations are appearing, and his utopian thought is finding a new resonance in many different contexts.Several of the authors here address the centrality of a radically unconventional concept of utopia to Bloch’s thought; others write on the question of memory and pedagogical theory. There is a Blochian reading of crime fiction, illuminating overviews of Bloch’s work and an exploration of the stylistics of hope in Bloch’s Spuren, as well as a translation of excerpts from that extraordinary book.The essays gathered here are intended, above all, to recommend Bloch’s work as a challenge to older models of historical materialism and utopian emancipation, and to give specific examples of how that work can contribute to current debates about utopia, nationalism and collective memory, the liberatory content of popular cultural forms, and the complex relationship between ideology and everyday life. Together they provide a timely introduction to one of the most untimely and inspiring thinkers of the twentieth century.

    

    Using the most recent work in Gothic and gender studies, the authors enter the current debate on the nature of female Gothic and raise questions about du Maurier's relationship to such a tradition. They demonstrate that using recognizable popular forms, she was able to explore through Gothic writing the anxieties of modernity in the kind of fiction many people find accessible. This, they claim, explains the compulsive quality of her best novels and their enduring popularity.

    What is postmodernism? What are the reasons for its attractiveness? In Defense of History is a compelling challenge to postmodern fashion, written by new intellectuals on the left who are reviving historical materialism as an alternative.

    Texts by Ruben Martinez, Roger Bartra, Ana Castillo, Juan Felipe Herrera, Ed Morales, Guillermo Gomez-Pena, Roberto Sifuentes, and others.

    Analyzing specific forms of AIDS organizing and activism in Vancouver, British Columbia from ACT UP to visiting buddy programs Brown explores the alternative spaces of political action that have formed in locations where state, civil society, and family overlap. Instead of the traditional view of citizenship as a formal, unchanging relationship between individual and state, he proposes that citizenship is more productively discerned in everyday acts and in the actual places where we live our lives. An important contribution to queer theory and theories of radical democracy, the book brings abstract concepts down to earth with its nuanced portrait of the survival strategies of a community under siege. Honorable Mention, Myers Outstanding Book Awards

    Stories, rituals, ideas, perceptive modes, conversations, rules, techniques, behavior patterns, actions, language, and objects constantly circulate back and forth between theatre and the other cultural institutions that make up everyday life in the twentieth century. These exchanges, which challenge the established concept of theatre in a way that demands to be understood, form the core of Erika Fischer-Lichte's dynamic book.Each eclectic essay investigates the boundaries that separate theatre from other cultural domains. Every encounter between theatre and other art forms and institutions renegotiates and redefines these boundaries as part of an ongoing process. Drawing on a wealth of fascinating examples, both historical and contemporary, Fischer-Lichte reveals new perspectives in theatre research from quite a number of different approaches. Energetically and excitingly, she theorizes history, theorizes and historicizes performance analysis, and historicizes theory.

    This edition includes chapters on the press, magazines, new media and popular music.

    Routledge is an imprint of Taylor & Francis, an informa company.

    Alongside these pioneers of black American literature Zafar juxtaposes some familiar European American Writers. Beginning with Phillis Wheatley's implicit engagements with other colonial era poets, and ending with the ultimately tragic success story of Elizabeth Keckley, ex-slave, seamstress, and confidante to a First Lady, black authors employed virtually every dominant literary genre while cannily manipulating the nature of their presence.

    He shows that reenactment, as an artistic project, also functions as a critical strategy, one that, unlike historical methods requiring a mediator, speaks directly to us and lures us into the Holocaust.We are then placed in the position of experiencing and being the subjects of that history. We are there, and history is present -- but not quite. A confrontation with Nazism or with the Holocaust by means of a reenactment takes place within the representational realm of art. Our access to this past is no longer mediated by the account of a witness, by a narrator, by the eye of a photographer. We do not respond to a re-presentation of the historical event, but to a presentation or performance of it, and our response is direct or firsthand in a different way. That different way of "keeping in touch" is the subject of inquiry that propels this study.

    Children are perceived as individuals with the creative capacities to decide and choose according to their private logic. Some Adlerian concepts explained are: active, passive, constructive and destructive behavior patterns, the four goals of misbehavior, punishment vs. logical consequences, and personality/lifestyle development. Alfred Adler, a contemporary of Freud and Jung, was among the first child psychologists and his innovative perceptions of a child's personality development remain timely.

    This book takes issue with that assumption, arguing instead that political philosophers have commonly presented their readers with a narrative, rather than a logic, of politics.The book maintains that philosophical texts frequently persuade through the creation of a role that they invite their audience to inhabit. Political theory is most powerful not when it erects timeless principles, but when it alters readers' understanding of their own past and future. By this the author means that a theorist's account of history or of time itself is in many instances the center of (and not merely an addendum to) an account of human nature and politics; political theory seeks not so much to reform our morals as to reshape our memories.This book investigates the place of narrative in politics in two ways. It offers a hypothesis of a broad connection between political identity and narrative, and it analyzes three major figures in the history of political thought—Locke, Hegel, and Nietzsche—to demonstrate that their work is best understood through the hypothesis. The author argues that each of these philosophers rewrites the past in an attempt to direct the future.For Locke, this involves replacing the patriarchal history of kingly authority with a more naturalistic past grounded in episodes of consent—an act that he believes will replace a tyrannical future with a free one. In contrast, Hegel's approach to the past is aesthetic, and each epoch of history is understood as a work of art. Despite the romantic overtones of this view, the frozenness of these images results, for Hegel, in a weakly imagined future. Nietzsche's narrative is at once the most open and the most gruesome, emphasizing the centrality of violence in human history but also holding out hope for a redemption of that history in a particular future. This redemptive approach to the past, the author argues, is superior to the alternatives in that it supports the strongest account of human freedom.

    In a series of readings of contemporary thinkers (notably Foucault and Derrida) and their philosophical antecedents (Marx, Nietzsche, Sade), the author argues that an encounter with the difficulties of reading (literary) language, precisely what resists the immediate comprehension or mastery of a subject, enables in turn a new thought of rights and responsibility.What literature teaches us about politics is that the absence of foundations, whether in the world or in the subject, far from being its downfall, is its very condition of possibility: because a foundation or a final resolution is lacking, we have politics and ethics and their predicaments. Like the reading of a text, which is never quite done, any responsibility worthy of the name cannot rest in the good conscience of its certain accomplishment; likewise, the assertion of rights can never be circumscribed or guaranteed—hence the ongoing necessity of the ethical and the political.The book is driven by a sense that literary and theoretical questions, and the ideas or concepts they appeal to or provoke, play a critical role in the way we think about and experience politics, but that literary critics and theorists do far too little to understand those links or make them matter outside a very restricted sphere. The author seeks to harness this specialized discourse in order to consider what ethical and political thinking might learn from literature and its theorists.

    The theoretical analysis incorporates throughout the volume the work of key figures ranging from Adorno, Habermas and Fromm to Klein, Kristeva, Winnicott and Zizek.

    Angus argues that English Canadian identity revolves around maintaining a border between Canada and the United States, and suggests that the border between countries can also be seen as a border between self and Other, between humanity and nature. Multiculturalism and the ecology movement's rethinking of the relation between humanity and nature suggest that English Canadian social and political philosophy is oriented toward sustaining a border between self and Other, in order to preserve what is one's own while maintaining and respecting the Other. Angus argues that contemporary public discourse is hampered both by the tribalizing devolution of the politics of identity and the globalizing forces of corporate political economy. Addressing this impasse requires a new understanding of the politics of identity in English Canada and the creation of a theory of Canadian social identity as postcolonial, particularist, and pluralist.

    In Alien Nation Cannon Schmitt moves away from these models of the genre to chart, instead, the ways in which Gothic fictions and conventions gave shape to a sense of English nationality during the century in which British imperial power was stretching out its greatest reach.

    The contributors, including Amartya Sen and Pranab Bardhan, question the dichotomy between secular nationalism and religious communalism and take issue with cultural critiques of modernity and nationalism.

    A shattering discovery reveals the secret of the universe through a mathematical formula.

    Most radical of all is the possibility that the very notion of literature is rendered untenable by postmodernism. How did this possibility arise? Who are the key figures responsible for its emergence; which are the key texts of its expression? This Anthology provides ways of responding to such questions.

    Arguing that policy has become an increasingly central concept and instrument in the organisation of contemporary societies and that it now impinges on all areas of life so that it is virtually impossible to ignore or escape its influence, this book argues that the study of policy leads straight into issues at the heart of anthropology.

    The performances of these groups linked the political, the cultural, and the spiritual, while agitating against the dominant power structure and for the transformation of social and theatrical practices in the U.S. Founded during the Delano Grape Pickers' Strike and Black Power rebellions of the mid-1960s, both El Teatro and the BRT professed cultural pride and group unity as critical corollaries to self-determination and revolutionary social action. Taking It to the Streets compares the performance methodologies, theories, and practices of the two groups, highlighting their cross-cultural commonalties, and providing insights into the complex genre of social protest performance and its interchange with its audience. It examines the ways in which ritual can be seen to operate within the productions of El Teatro and the BRT, uniting audience and performers in subversive, celebratory protest by transforming spectators into active participants within the theater walls --and into revolutionary activists outside. During this critical historical period, these performances not only encouraged community empowerment, but they inculcated a spirit of collective faith and revolutionary optimism. Elam's critical reexamination and recontextualization of the ideologies and practices of El Teatro and the BRT aid in our understanding of contemporary manipulations of identity politics, as well as current strategies for racial representation and cultural resistance."A major contribution to our understanding of how social protest came to be so strong and how Black and Chicano theatre contributed to the synergy of those times." --Janelle Reinelt, University of California, DavisHarry J. Elam, Jr., is Associate Professor of Drama and Director of the Committee on Black Performing Arts, Stanford University.