Here, an indigenous researcher issues a clarion call for the decolonization of research methods.The book is divided into two parts. In the first, the author critically examines the historical and philosophical base of Western research. Extending the work of Foucault, she explores the intersections of imperialism, knowledge and research, and the different ways in which imperialism is embedded in disciplines of knowledge and methodologies as 'regimes of truth'. Providing a history of knowledge from the Enlightenment to Postcoloniality, she also discusses the fate of concepts such as 'discovery, 'claiming' and 'naming' through which the west has incorporated and continues to incorporate the indigenous world within its own web.The second part of the book meets the urgent need for people who are carrying out their own research projects, for literature which validates their frustrations in dealing with various western paradigms, academic traditions and methodologies, which continue to position the indigenous as 'Other'. In setting an agenda for planning and implementing indigenous research, the author shows how such programmes are part of the wider project of reclaiming control over indigenous ways of knowing and being.Exploring the broad range of issues which have confronted, and continue to confront, indigenous peoples, in their encounters with western knowledge, this book also sets a standard for truly emancipatory research. It brilliantly demonstrates that "when indigenous peoples become the researchers and not merely the researched, the activity of research is transformed."

    . . . Using the language of the elemental world, he delineates a complex human intersection and transmutes cruelty into its opposite—a potent, lifegiving remedy.”—Alison Bechdel, author of Fun HomeFirst published in 1999, Exile & Pride established Eli Clare as one of the leading writers on the intersections of queerness and disability. With this critical tenth-anniversary edition, the groundbreaking publication secures its position as essential to the history of queer and disability politics, and, through significant new material that boldly interrogates and advances the original text, to its future as well. Clare’s writing on his experiences as a genderqueer activist/writer with cerebral palsy permanently changed the landscape of disability politics and queer liberation, and yet Exile & Pride is much too great in scope to be defined by even these two issues. Instead it offers an intersectional framework for understanding how our bodies actually experience the politics of oppression, power, and resistance. At the heart of Clare’s exploration of environmental destruction, white working-class identity, queer community, disabled sexuality, childhood sexual abuse, coalition politics, and his own gender transition is a call for social justice movements that are truly accessible for everyone.Blending prose and theory, personal experience and political debate, anger and compassion, Exile & Pride provides a window into a world where our whole selves in all their complexity can be loved and accepted.An award-winning poet and essayist, Eli Clare is also the author of The Marrow’s Telling.

    José Esteban Muñoz looks at how those outside the racial and sexual mainstream negotiate majority culture—not by aligning themselves with or against exclusionary works but rather by transforming these works for their own cultural purposes. Muñoz calls this process “disidentification,” and through a study of its workings, he develops a new perspective on minority performance, survival, and activism.Disidentifications is also something of a performance in its own right, an attempt to fashion a queer world by working on, with, and against dominant ideology. By examining the process of identification in the work of filmmakers, performance artists, ethnographers, Cuban choteo, forms of gay male mass culture (such as pornography), museums, art photography, camp and drag, and television, Muñoz persistently points to the intersecting and short-circuiting of identities and desires that result from misalignments with the cultural and ideological mainstream in contemporary urban America.Muñoz calls attention to the world-making properties found in performances by queers of color—in Carmelita Tropicana’s “Camp/Choteo” style politics, Marga Gomez’s performances of queer childhood, Vaginal Creme Davis’s “Terrorist Drag,” Isaac Julien’s critical melancholia, Jean-Michel Basquiat’s disidentification with Andy Warhol and pop art, Felix Gonzalez-Torres’s performances of “disidentity,” and the political performance of Pedro Zamora, a person with AIDS, within the otherwise artificial environment of the MTV serial The Real World.

    Rather, it is a late and localized product of very specific historical conditions, which required great transformations in social relations and in the human interaction with nature.This new edition is substantially revised and expanded, with extensive new material on imperialism, anti-Eurocentric history, capitalism and the nation-state, and the differences between capitalism and non-capitalist commerce. The author traces links between the origin of capitalism and contemporary conditions such as globalization, ecological degradation, and the current agricultural crisis.

    This passage, he argues, has brought profound change to all aspects of the human condition. The new remoteness and un-reachability of global systemic structure coupled with the unstructured and under-defined, fluid state of the immediate setting of life-politics and human togetherness, call for the rethinking of the concepts and cognitive frames used to narrate human individual experience and their joint history.This book is dedicated to this task. Bauman selects five of the basic concepts which have served to make sense of shared human life - emancipation, individuality, time/space, work and community - and traces their successive incarnations and changes of meanaing.Liquid Modernity concludes the analysis undertaken in Bauman's two previous books Globalization: The Human Consequences and In Search of Politics. Together these volumes form a brilliant analysis of the changing conditions of social and political life by one of the most original thinkers writing today.

    

    They argue that from the middle of the 1970s onwards, capitalism abandoned the hierarchical Fordist work structure and developed a new network-based form of organization which was founded on employee initiative and autonomy in the workplace – a ‘freedom’ that came at the cost of material and psychological security.The authors connect this new spirit with the children of the libertarian and romantic currents of the late 1960s (as epitomised by dressed-down. cool capitalists such as Bill Gates and ‘Ben and Jerry’) arguing that they practice a more successful and subtle form of exploitation.In a work that is already a classic in Europe, Boltanski and Chiapello show how the new spirit triumphed thanks to a remarkable recuperation of the Left’s critique of the alienation of everyday life – a recuperation that simultaneously undermined the power of its social critique.

    A major collection of writings from one of the most important twentieth century French authors, "The Blanchot Reader" includes six works of fiction ("Death Sentence, The Madness of the Day, When the Time Comes, Vicious Circles, Thomas the Obscure", and "The One Who Was Standing Apart from Me") and extended selections of critical and philosophical essays from his major book, "The Gaze of Orpheus".

    Dermot Moran lucidly examines the contributions of phenomenology's nine seminal thinkers: Brentano, Husserl, Heidegger, Gadamer, Arendt, Levinas, Sartre, Merleau-Ponty and Derrida.Written in a clear and engaging style, Introduction to Phenomenology charts the course of the phenomenological movement from its origins in Husserl to its transformation by Derrida. It describes the thought of Heidegger and Sartre, phenomonology's most famous thinkers, and introduces and assesses the distinctive use of phenomonology by some of its lesser known exponents, such as Levinas, Arendt and Gadamer. Throughout the book, the enormous influence of phenomenology on the course of twentieth-century philosophy is thoroughly explored.This is an indispensible introduction for all unfamiliar with this much talked about but little understood school of thought. Technical terms are explained throughout and jargon is avoided. Introduction to Phenomenology will be of interest to all students seeking a reliable introduction to a key movement in European thought.

    Resisting easy responses to issues of dependence, desire, and mortality, she warily commits to a male therapist who shares little of her cultural and intellectual world.Although not without pain, their improvised relationship is as unexpectedly pleasurable as her writing is unconventional: Sedgwick combines dialogue, verse, and even her therapist's notes to explore her interior life--and delivers a delicate and tender account of how we arrive at love.

    it will certainly be read seriously in Chicano/a studies." --Women's Review of BooksEmma Perez discusses the historical methodology which has created Chicano history and argues that the historical narrative has often omitted gender. She poses a theory which rejects the colonizer's methodological assumptions and examines new tools for uncovering the hidden voices of Chicanas who have been relegated to silence.

    The volume opens with an introduction in which the editor situates Agamben's work with respect to both the history of philosophy and contemporary European thought. The essays that follow articulate a series of theoretical confrontations with privileged figures in the history of philosophy, politics, and criticism, from Plato to Spinoza, Aristotle to Deleuze, Carl Schmitt to Benjamin, Hegel to Aby Warburg, and Heidegger to Derrida. Three fundamental concepts organize the collection as a whole: language, in the sense not of particular statements but rather the very taking place of speech, the pure fact of language's existence; history, as it appears from a perspective in which tradition, transmission, and memory reach their messianic fulfillment; and potentiality, understood as a fundamental problem of metaphysics, ethics, and the philosophy of language. All these topics converge in the final part of the book, in which Agamben offers an extensive reading of Melville's short story "Bartleby the Scrivener" as a work that puts potentiality and actuality, possibility and reality, in an altogether new light.

    Rawls is the author of two major treatises, A Theory of Justice (1971) and Political Liberalism (1993); it is said that A Theory of Justice revived political philosophy in the English-speaking world. But before and after writing his great treatises Rawls produced a steady stream of essays. Some of these essays articulate views of justice and liberalism distinct from those found in the two books. They are important in and of themselves because of the deep issues about the nature of justice, moral reasoning, and liberalism they raise as well as for the light they shed on the evolution of Rawls's views. Some of the articles tackle issues not addressed in either book. They help identify some of the paths open to liberal theorists of justice and some of the knotty problems which liberal theorists must seek to resolve. A complete collection of John Rawls's essays is long overdue.

    Some flee from jobs they love, forced out by mean-spirited co-workers, subordinates or superiors -- often with the tacit approval of higher management. The authors, Dr. Noa Davenport, Ruth Distler Schwartz, and Gail Pursell Elliott have written a book for every employee and manager in America. The book deals with what has become a household word in Europe: Mobbing. Mobbing is a "ganging up" by several individuals, to force someone out of the workplace through rumor, innuendo, intimidation, discrediting, and particularly, humiliation. Mobbing is a serious form of nonsexual, nonracial harassment. It has been legally described as status-blind harassment. Mobbing affects the mental and physical health of victims. It extracts staggering costs from victims, their families, and from organizations. With this new book, Mobbing: Emotional Abuse in the American Workplace, there is a name for the problem and help for the victims. The book helps readers to understand what mobbing is, why it occurs, how it affects a victim and organizations, and what people can so. The authors have interviewed victims from across the U.S. and the book contains many quotes that poignantly illustrate the gravity of the mobbing experience. An overview of the literature and research is provided as well as many practical strategies to help the victims, managers, healthcare and legal professionals. Original drawings by Sabra Vidali express the depth of the experience and enhance the authors' work.

    This guide includes an outline of the critical reception of Woolf´s work—placing these two texts in the context of her oeuvre—as well as extracts from her own writing on these novels and an exploration of the birth of "Woolf studies" in the mid-twentieth century.

    It argues that indigenous peoples must return to their political traditions and use these traditions to educate a new generation of leaders committed to values and the preservation of indigenous nationhood.

    How can a door be unlocked with a pencil? It can't. How can Native literature be read applying conventional postmodern literary criticism? It can't.That is Craig Womack's argument in Red on Red. Indian communities have their own intellectual and cultural traditions that are well equipped to analyze Native literary production. These traditions should be the eyes through which the texts are viewed. To analyze a Native text with the methods currently dominant in the academy, according to the author, is like studying the stars with a magnifying glass.In an unconventional and piercingly humorous appeal, Womack creates a dialogue between essays on Native literature and fictional letters from Creek characters who comment on the essays. Through this conceit, Womack demonstrates an alternative approach to American Indian literature, with the letters serving as a "Creek chorus" that offers answers to the questions raised in his more traditional essays. Topics range from a comparison of contemporary oral versions of Creek stories and the translations of those stories dating back to the early twentieth century, to a queer reading of Cherokee author Lynn Riggs's play The Cherokee Night.Womack argues that the meaning of works by native peoples inevitably changes through evaluation by the dominant culture. Red on Red is a call for self-determination on the part of Native writers and a demonstration of an important new approach to studying Native works -- one that engages not only the literature, but also the community from which the work grew.

    Carefully structured and with numerous introductory essays, it guides the reader through theoretical and multi-disciplinary texts to direct considerations of gender in relation to particular architectural sites, projects and ideas. This collection marks a seminal point in gender and architecture, both summarizing core debates and pointing toward new directions and discussions for the future.

    Reaching beyond both medieval and queer studies, Dinshaw demonstrates in this challenging work how intellectual inquiry into pre-modern societies can contribute invaluably to current issues in cultural studies. In the process, she makes important connections between past and present cultures that until now have not been realized. In her pursuit of historical analyses that embrace the heterogeneity and indeterminacy of sex and sexuality, Dinshaw examines canonical Middle English texts such as the Canterbury Tales and The Book of Margery Kempe. She examines polemics around the religious dissidents known as the Lollards as well as accounts of prostitutes in London to address questions of how particular sexual practices and identifications were normalized while others were proscribed. By exploring contemporary (mis)appropriations of medieval tropes in texts ranging from Quentin Tarantino’s Pulp Fiction to recent Congressional debates on U.S. cultural production, Dinshaw demonstrates how such modern media can serve to reinforce constrictive heteronormative values and deny the multifarious nature of history. Finally, she works with and against the theories of Michel Foucault, Homi K. Bhabha, Roland Barthes, and John Boswell to show how deconstructionist impulses as well as historical perspectives can further an understanding of community in both pre- and postmodern societies. This long-anticipated volume will be indispensible to medieval and queer scholars and will be welcomed by a larger cultural studies audience.

    A theorist who has taken on theorists, an academician who has riled the academy, a legal scholar and political pundit who has ruffled feathers left and right, Fish here turns with customary gusto to the trouble with principle. Specifically, Fish has a quarrel with neutral principles. The trouble? They operate by sacrificing everything people care about to their own purity. And they are deployed with equal highmindedness and equally absurd results by liberals and conservatives alike.In this bracing book, Fish argues that there is no realm of higher order impartiality--no neutral or fair territory on which to stake a claim--and that those who invoke one are always making a rhetorical and political gesture. In the end, it is history and context, the very substance against which a purportedly abstract principle defines itself, that determines a principle's content and power. In the course of making this argument, Fish takes up questions about academic freedom and hate speech, affirmative action and multiculturalism, the boundaries between church and state, and much more. Sparing no one, he shows how our notions of intellectual and religious liberty--cherished by those at both ends of the political spectrum--are artifacts of the very partisan politics they supposedly transcend. The Trouble with Principle offers a provocative challenge to the debates of our day that no intellectually honest citizen can afford to ignore.

    Playful, mysterious, and challenging, The Character is for anyone interested in the inscription of power by means of language.

    Known internationally as the author of a pathbreaking biography of Michel Foucault, Eribon is a leading voice in French gay studies. In explorations of gay subjectivity as it is lived now and as it has been expressed in literary history and in the life and work of Foucault, Eribon argues that gay male politics, social life, and culture are transformative responses to an oppressive social order. Bringing together the work of Jean-Paul Sartre, Pierre Bourdieu, Judith Butler, and Erving Goffman, he contends that gay culture and political movements flow from the need to overcome a world of insult in the process of creating gay selves.Eribon describes the emergence of homosexual literature in Britain and France at the turn of the last century and traces this new gay discourse from Oscar Wilde and the literary circles of late-Victorian Oxford to André Gide and Marcel Proust. He asserts that Foucault should be placed in a long line of authors—including Wilde, Gide, and Proust—who from the nineteenth century onward have tried to create spaces in which to resist subjection and reformulate oneself. Drawing on his unrivaled knowledge of Foucault’s oeuvre, Eribon presents a masterful new interpretation of Foucault. He calls attention to a particular passage from Madness and Civilization that has never been translated into English. Written some fifteen years before The History of Sexuality, this passage seems to contradict Foucault’s famous idea that homosexuality was a late-nineteenth-century construction. Including an argument for the use of Hannah Arendt’s thought in gay rights advocacy, Insult and the Making of the Gay Self is an impassioned call for critical, active engagement with the question of how gay life is shaped both from without and within.

    While some marvel at these changes, envisioning consciousness downloaded into a computer or humans "beamed" Star Trek-style, others view them with horror, seeing monsters brooding in the machines. In How We Became Posthuman, N. Katherine Hayles separates hype from fact, investigating the fate of embodiment in an information age.Hayles relates three interwoven stories: how information lost its body, that is, how it came to be conceptualized as an entity separate from the material forms that carry it; the cultural and technological construction of the cyborg; and the dismantling of the liberal humanist "subject" in cybernetic discourse, along with the emergence of the "posthuman."Ranging widely across the history of technology, cultural studies, and literary criticism, Hayles shows what had to be erased, forgotten, and elided to conceive of information as a disembodied entity. Thus she moves from the post-World War II Macy Conferences on cybernetics to the 1952 novel Limbo by cybernetics aficionado Bernard Wolfe; from the concept of self-making to Philip K. Dick's literary explorations of hallucination and reality; and from artificial life to postmodern novels exploring the implications of seeing humans as cybernetic systems.Although becoming posthuman can be nightmarish, Hayles shows how it can also be liberating. From the birth of cybernetics to artificial life, How We Became Posthuman provides an indispensable account of how we arrived in our virtual age, and of where we might go from here.

    Of special interest are his observations and analysis of the Israeli/Palestinian confrontation, Arab/Jewish poetics, and Jewish identity in America."—Midwest Book Review Table of Contents Local Politics: The Background as Foreword Ammiel Alcalay Acknowledgments Five Hundred Years After: What Was Left Unsaid about Sepharad Juan Goytisolo PRELUDES: AN OPENING weighing the losses, like stones in your hand' Atonement OF BOOKS AND CITIES/ THE JOURNEY My Mediterranean The Quill's Embroidery: Untangling a Tradition The Quill's Embroidery: Poetry, Tradition, and the Postmodern' Paris / New York / Jerusalem: The Unscheduled Flight of Edmond Jabes and Jacques Derrida Perplexity Index Desert Solitaire: On Edmond Jabes For Edouard Roditi Behind the Scenes: Before After Jews and Arabs FORBIDDEN TERRITORIES, PROMISED LANDS On Arabesques After the Last Sky Who's Afraid of Mahmoud Darwish? Israel and the Levant: Wounded Kinship's Last Resort' Forbidden Territory, Promised Lands In True Colors Culture without a Country Too Much Past The State of the Gulf: Abdelrahman Munif and Hanan al-Shaykh Our Memory Has No Future: On Etel Adnan The war was ending, the diasporas beginning' DISPATCHES A Stitch in Time Court Report: Prolonging a Farce The Trial: A Real Farce Ay, de mi aljama': Palestinians and Israelis Meet, in Spain! Israel / Palestine 101: A Letter to Robert Creeley Quality Control Ushering in the New Order: Repercussions from the Gulf War Reflections at the End of 1992 Why Israel? THE RETURN: VARIATIONS ON A THEME Understanding Revolution Exploding Identities: Notes on Ethnicity and Literary History Speaking with Forked Tongues, or Parables of Eq

    

    Analyzing a range of sources, including sexology texts, early cinema, and African American literature, Siobhan B. Somerville argues that the emerging understanding of homosexuality depended on the context of the black/white “color line,” the dominant system of racial distinction during this period. This book thus critiques and revises tendencies to treat race and sexuality as unrelated categories of analysis, showing instead that race has historically been central to the cultural production of homosexuality.At about the same time that the 1896 Supreme Court Plessy v. Ferguson decision hardened the racialized boundary between black and white, prominent trials were drawing the public’s attention to emerging categories of sexual identity. Somerville argues that these concurrent developments were not merely parallel but in fact inextricably interrelated and that the discourses of racial and sexual “deviance” were used to reinforce each other’s terms. She provides original readings of such texts as Havelock Ellis’s late nineteenth-century work on “sexual inversion,” the 1914 film A Florida Enchantment, the novels of Pauline E. Hopkins, James Weldon Johnson’s Autobiography of an Ex-Coloured Man, and Jean Toomer’s fiction and autobiographical writings, including Cane. Through her analyses of these texts and her archival research, Somerville contributes to the growing body of scholarship that focuses on discovering the intersections of gender, race, and sexuality.Queering the Color Line will have broad appeal across disciplines including African American studies, gay and lesbian studies, literary criticism, cultural studies, cinema studies, and gender studies.

    Why? Because clearly, he goes on, we have Shakespeare's texts, but nobody knows what to do with the improvisation that is the basis of the Commedia dell'Arte, despite massive documentation. This book by Fava, one of the few living master teachers of Commedia dell'Arte, is the first aesthetic and methodological study of the traditional Italian theater form--the first to describe, in a precise and practical way, what Commedia is and what it should be. The mask--as object, symbol, character, theatrical practice, even spectacle itself--is the central metaphor around which Fava builds his discussion of structure, themes, characters, and methods. Drawing on twenty years of research conducted through his work as performer, director, mask maker, and scholar, he offers extensive practical, philosophical, and technical guidelines to performing the stock characters of Commedia, observing its structure, extracting its poetics, exploring its themes, and using the mask. A densely layered text combining historical fact, personal experience, philosophical speculation, and passionate opinion, and including copious illustrations--period drawings, prints, and color photographs of leather Commedia masks made by Fava himself--The Comic Mask in the Commedia dell'Arte is a rich work of singular insight into one of the world's most venerable forms of theater.

    It explores the Nazi's preoccupation with the male body as an icon of political power, and the ideology and theories which propelled it.

    Pacht's approach to art history is shaped by his conviction that visual art, like music, can say things in its own medium that cannot be said in any other. He aims to sharpen our perceptions by recreating the social and cultural context in which an object was made, clarifying unfamiliar notions of space and time or significant gestures and symbols which are no longer recognizable. Each part of Pacht's analysis is illustrated by reference to a specific manuscript, painting, building or sculpture, and his examples range from medieval and Renaissance art through to the works of Rembrandt. He explores the theories of major thinkers from Riegl, Wolfflin and Croce to Panofsky and Gombrich. But the emphasis always returns to the activity of looking, and Pacht's greatest achievement is in showing the student and general reader alike how to practise art history in their own encounters with works of art.

    Theatre professor Dale Moffitt has edited and arranged by subject twelve hours of spontaneous question and answer sessions from Brook's visit to the Southern Methodist University campus.Ranging widely over many topics, Brook talks about his innovative and award-winning production of Marat/Sade, his film and stage versions of King Lear, his nine-hour production of the Indian epic The Mahabharata. With passion and clarity he discusses acting, directing, auditions, film vs. the stage, his responses to the work of other theatre figures like Grotowski and Artaud, and the multiculturalism which characterizes his most recent work.

    Writers from Homer to Heaney instruct us in the art of mental composition, even as their poems progress. Just as painters understand paint, composers musical instruments, and sculptors stone or metal, verbal artists understand the only material in which their creations will get made--the back-lit tissue of the human brain. In her brilliant synthesis of literary criticism, philosophy, and cognitive psychology, Elaine Scarry explores the principal practices by which writers bring things to life for their readers.

    She explains what it was, how the Stoics justified it, and how it relates to their views on possibility, action, freedom, moral responsibility, and many other topics. She demonstrates the considerable philosophical richness and power that these ideas retain today.

    J. Clark rewrites the history of modern art. With the fall of the Berlin Wall, he explains, the project called socialism may have come to an end at roughly the same moment as modernism. Did modernism and socialism depend on each other for their vitality—for their sense of the future and their wish to live in a fully material world? Have they died? Aware of modernism’s foibles and blind spots, but passionately attached to the movement’s wildness, Clark poses these fundamental questions in Farewell to an Idea. Modernism, Clark argues, was an extreme answer to an extreme condition—the one Max Weber summed up as “the disenchantment of the world.” Clark focuses on instances of maximum stress, when the movement revealed its true nature. The book begins with Jacques-Louis David, painting at the height of the Terror in 1793, then leaps forward to Pissarro a hundred years later, struggling to picture Two Young Peasant Women ina way that agreed with his anarchist politics. Next the author turns in succession to Cézanne’s paintings of the Grandes Baigneuses and their coincidence in time (and maybe intention) with Freud’s launching of psychoanalysis; to Picasso’s Cubism; and to avant-garde art after the Russian Revolution. Clark concludes with a reading of Jackson Pollock’s tragic version of abstraction and suggests a new set of terms to describe avant-garde art—perhaps in its final flowering—in America after 1945. Shifting between broad, speculative history and intense analysis of specific works, Clark not only transfigures our usual understanding of modern art, he also launches a new set of proposals about modernity itself.

    This book is a collection of material extracted from McLuhan's many scattered remarks, essays and various writings on religion. It is a powerful expose of his brilliant insights into theology, the Church and the Global Village and shows the deeply Christian side of a man considered by many to be one of the most important thinkers of our time.

    In projects such as the Homeless Vehicle, which he designed through discussions with homeless people, Wodiczko has helped to make public space a place where marginalized people can speak, establish their presence and assert their rights.

    His visit spurred him to an original and powerful reappraisal of Faulkner's work.Like Faulkner's literary descendants in the United States, Glissant is fascinated by the stories of Yoknapatawpha County and disturbed by the author's equivocations about the racism there. Glissant, however, stands in a distinctive relation to Faulkner and his county: as a black Martinican, he is descended from slaves; as a native French speaker, he first encountered the great novelist's work in translation.Faulkner, Mississippi is a distinctive look at an American icon by a writer deeply involved in the issues of Faulkner's work. Glissant sees the racial complexities of Faulkner as the key to his influence in the next century, and presents Faulkner as the progenitor of Flannery O'Connor, Gabriel Garcia Marquez, Alejo Carpentier, and Toni Morrison, who all write fiction in which the characters are implicated in a single multiracial calamity. He exhorts the reader to "Look him straight in the eyes, the son of the slave and the son of the slave owner" -- and Glissant's own clear-eyed gaze makes this book a revelation about the work of one of our greatest but still least-understood writers.

    Minh-haVietnamese filmmaker and feminist thinker Trinh T. Minh-ha is one of the most powerful and articulate voices in independent filmmaking. In her writings and interviews, as well as in her filmscripts, Trinh explores what she describes as the infinite relation of word to image. Cinema-Interval brings together her recent conversations on film and art, life and theory, with Homi Bhabha, Deb Verhoeven, Annamaria Morelli and other critics. Together these interviews offer the richest presentation of this extraordinary artist's ideas.Extensively illustrated in color and black and white, Cinema-Interval covers a wide range of issues, many of them concerning the space between--between viewer and film, image and text, interviewer and interviewee, lover and beloved. As an added bonus, the complete scripts of Trinh's films Surname Viet Given Name Nam and A Tale of Love are also included in the volume.Cinema-Interval will be an essential work for readers interested in contemporary film art, feminist thought, and postcolonial studies.

    This book is the first to provide hands-on experience in training to use this invaluable methodology.The process of doing conversation analysis is outlined in sections which cover: an introduction to the approach and specific methodology of CA, making and transcribing recordings, analytic strategies in CA, applying CA, and writing up and publishing results.Most chapters have detailed examples of actual recordings of interactional talk in ordinary settings, and all end with suggested practical exercises and further reading.

    This controversial and path-breaking volume extends ANT beyond studies of technology, power and organisation to the body, subjectivity, politics, and cultural difference, and puts it into cutting-edge dialogue with feminism, anthropology, psychology and economics.

    After three years of extensive travel and research, color specialist Shigenobu Kobayashi has devised a stunningly simple method for pinpointing personal color preferences. A series of clear-cut exercises allows you to accurately define your color sense and then locate it on an "image scale" in order to select compatible color schemes for home or office, or even wardrobe.Next, Kobayashi illuminates the underpinnings of color in everyday and ornamental settings, revealing the hidden technique beneath each successful color scheme. He introduces a full range of colors for all moods and tastes, then presents eight psychological color types to assist you in putting your own color profile to practical use in the bedroom, den, playroom, or office.With over 500 color photographs, 50 charts, and hundreds of sample "color-scale chips," the Colorist not only delivers a unique method of defining color sense but provides invaluable insights into the art of using color, making it an indispensable guide for home owners, decorators, artists, and designers-indeed, anyone who works with or enjoys color.

    This guide directs readers and viewers to the best, better, or historically important works of the fantastic imagination, as well as to the scholarship that helps us understand their nature and appeal. Arranged chronologically, narrative introductions provide historical and analytical perspectives on the period or subjects covered while annotated bibliographies describe and evaluate the books and other materials judged most significant for literary, extraliterary, or historical reasons. More than 2,300 works of fiction and poetry are discussed, each cross-referenced to other works with similar or contrasting themes. Winners and nominees for major awards are identified. Books that are part of a series are flagged, with a complete list of books in series included in a final chapter, along with a comprehensive list of awards, of translations, and of young adult and children's books. A chapter on teaching fantasy and horror literature provides aid for teachers of every experience level, from high school through college. Fantastic illustration, films, TV and radio, and Internet sites are all discussed in detail. Comprehensive, up-to-date, carefully organized with multiple indexes, this guide will appeal to anyone with the slightest interest in fantastic literature, film, or illustration.

    It is divided into the following main sections:origins and transformations sociology, race and social theory racism and anti-Semitism colonialism, race and the other feminism, difference and identity changing boundaries and spaces.Each section begins with a brief editorial introduction, providing a guide to the readings by historically contextualizing them and relating them to other writings throughout the book. Cross-national in content, historical in scope and offering a variety of topical perspectives, Theories of Race and Racism will be an invaluable resource for undergraduates across a range of disciplines.

    But often overlooked is the fact that ultimately the Crucifixion is a scene of capital punishment. Mitchell Merback reconstructs the religious, legal, and historical context of the Crucifixion and of other images of public torture. The result is a fascinating account of a time when criminal justice and religion were entirely interrelated and punishment was a visual spectacle devoured by a popular audience.Merback compares the images of Christ's Crucifixion with those of the two thieves who met their fate beside Jesus. In paintings by well-known Northern European masters and provincial painters alike, Merback finds the two thieves subjected to incredible cruelty, cruelty that artists could not depict in their scenes of Christ's Crucifixion because of theological requirements. Through these representations Merback explores the ways audiences in early modern Europe understood images of physical suffering and execution. The frequently shocking works also provide a perspective from which Merback examines the live spectacle of public torture and execution and how audiences were encouraged by the Church and the State to react to the experience. Throughout, Merback traces the intricate and extraordinary connections among religious art, devotional practice, bodily pain, punishment, and judicial spectatorship.Keenly aware of the difficulties involved in discussing images of atrocious violence but determined to make them historically comprehensible, Merback has written an informed and provocative study that reveals the rituals of medieval criminal justice and the visual experiences they engendered.

    But to do this, writing centers need to be more fully engaged with the paradox of literacythe way that literacy both dominates and liberates, both demands submission and offers the promise of agency. Nancy Grimm believes that postmodern theory, which emphasizes the diversity of our society, offers the best opportunities for this engagement. Her book offers a fundamental reconsideration of writing center workwork, she maintains, that must be informed by an understanding of the cultural role of literacy education.Because so many educational practices are based on tacit assumptions about the normal way to do things, Grimm argues that both the teaching and tutoring of literacy must be informed by a radical reconsideration of academic fairness. Change will depend on the willingness of comfortably situated people to open themselves to authentic listening and the possibilities of having their world views transformed by writing center students. Good intentions alone, particularly good intentions grounded in a missionary narrative, are not enough to overcome the potentially oppressive nature of literacy education.Grimm begins by positioning the debate about the function of the writing center in the larger cultural conflict created by postmodern conditions. She locates writing center work within the historical contradictions of literacy, then analyzes the way composition teaching regulates an academic identity. She goes on to show how postmodern theories of subjectivity offer ways to intervene in that regulation. After reconceptualizing the politics of writing center administration, Grimm ultimately argues for a conception of fairness that holds writing center workers responsible for not only granting students membership to the academic literacy club but also for changing the gates of that club when change is necessary.Good Intentions is essential reading for educators involved with writing centers in any capacitywhether they be directors, researchers, professional and undergraduate staff, or simply teachers of students who use writing centers.

    It places the evolution of the lower middle class and its relation to other classes within the social structure of nineteenth-century England and within the historical context of changing perceptions of the idea of the gentlemen and the changing role of women, especially during the second half of the century. Arlene Young traces popular attitudes towards various representative class and cultural types through the examination of novels, comic sketches, and contemporary nineteenth-century social commentaries.

    Writing in a style sometimes scathing, sometimes witty, always lucid, he decried any psychology that attempted to eradicate the human dimension from the study, scientific and otherwise, of human experience and action. A philosopher and humanist by nature, Koch also sought to change the multifaceted field of psychology by moving it closer to the humanities and arts.The broad scope of essays in Psychology in Human Context—which began as the basis for the eagerly anticipated postscript to Koch's seminal Psychology: A Study of a Science—reveals his writings to be as fresh and relevant today as ever. Carefully edited by two of Koch's close associates, this collection places psychological and philosophical issues in the context of twentieth-century thought and provides intellectual and moral signposts for future travelers in what Koch regarded as the irreducibly rich and human realm of the psychological studies.Sigmund Koch was University Professor of Psychology and Philosophy at Boston University, the editor of the landmark six-volume series Psychology: A Study of a Science (1959-1963) and coeditor of A Century of Psychology as Science. He served as the president of three divisions of the American Psychological Association and was director of the Ford Foundation program in the Humanities and the Arts (1964-1967).

    

    It provides extensive coverage of conditional probability and expectation, strong laws of large numbers, martingale theory, the central limit theorem, ergodic theory, and Brownian motion.* Clear, readable style* Solutions to many problems presented in text* Solutions manual for instructors* Material new to the second edition on ergodic theory, Brownian motion, and convergence theorems used in statistics* No knowledge of general topology required, just basic analysis and metric spaces* Efficient organization

    However, the renewed focus, while certainly welcome, seems to always end at the corporeal surface. While recent sociological and feminist theory has made important claims about the process of cultural inscription on the body, and about the cultural representation of the body, what actually appears in this new theory seems to be, ironically, disembodied. If this newly theorized form has interiority, it is one that is explained predominantly through psychoanalysis. The physiological processes remain a mystery to be explained, if at all, only in the esoteric language of biomedicine.As a trained biologist, Lynda Birke was frustrated by the gap between feminist cultural analysis and her own scientific background. In this book, she seeks to bridge this gap using ideas in anatomy and physiology to develop the feminist view that the biological body is socially and culturally constructed. Birke rejects the assumption that bodily function is somehow fixed and unchanging, claiming that biology offers more than just a deterministic narrative of how nature works. Feminism and the Biological Body brings natural science and feminist theory together and suggests that we need a new politics that includes, rather than denies, our flesh.

    The little tome attempts to awaken the aesthetic sense, the creative muse who lurks within us all. Today, in a cognitive/technical society, people have become more and more removed from the instinctive aspect of the psyche. My task as author is to enhance the creative spirit through myth and metaphor, to restore the sense of wonder adults experienced as children. My method is multisensory, interdisciplinary, and holistic. There are no limitations to what thoughts, ideas, observations, or research could and might be used to stimulate the creative process. The ultimate tool is the human heart (from the French,coeur, meaning courage). The medium is words. Philosophy, art, music, and linguistics are some of the disciplines used as stimulation. As Phyllis Whitney says, learn to "think with a pencil." What comes out on paper may be the most wonderful gift you have ever received. And, just think, dear reader, you gave it to yourself!

    Biographical speculation, and the controversy surrounding the posthumous publication of her work, have dominated critical debate at the expense of her poetic and fictional achievement. Sylvia Plath and the Theatre of Mourning offers a new framework of interpretation for the texts, which attends to their formal complexity without detaching them either from their historical moment or from contemporary debates about language, gender and subjectivity. Interweaving close reading and theoretical reflection, Britzolakis argues that Plath's poetry constitutes a psychic theatre which makes the work of mourning inseparable from its performance in language, and shows how she engaged with the legacy of modernism to arrive at this distinctive mode.

    Seeking to proliferate the findings and insights of queer theory, contributors explore the issue of whether and how queer theory can speak for and include the straight.   In some of the ways that men have learned from feminism to interrogate the construction of masculinity, straights are learning from queer theory to interrogate constructions of straightness, to question their place in those constructions, and to make critical interventions into the institutional reproduction of the heterosexual norm. Straight with a Twist responds to the formulations of some of the leading figures in queer theory, considers demonstrations of the queer in television programs ("Seinfeld," for example) and contemporary films, and explores to what extent and in what ways literary texts from Shakespeare to Dorothy Allison are open to queer interpretation.   Committed to antihomophobic cultural analysis, Straight with a Twist aims to extend the reach of queer theory and humanize the world by making it "queerer than ever."

    Vygotsky's social constructivist theory offers an alternative solution, placing stress on coconstruction of knowledge by more and less mature participants engaging in joint activity. This theory offers semiotic mediation as the primary means of obtaining knowledge, whereby the less mature participants can seek solutions to everyday problems by using resources existing in society. In addition to using illustrative examples from classroom studies, this book provides a comparative analysis of the theories and complementary developments in works by Vygotsky and the linguist M.A.K. Halliday. This unique volume will be of tremendous benefit to researchers in the fields of education, sociolinguistics, and psychology.

    Perhaps this is so in part because baroque vision resists separation of mind and body, form and matter, line and color, image and discourse. In Quoting Caravaggio, Mieke Bal deploys this insight of entanglement as a form of art analysis, exploring its consequences for both contemporary and historical art, as well as for current conceptions of history.Mieke Bal’s primary object of investigation in Quoting Caravaggio is not the great seventeenth-century painter, but rather the issue of temporality in art. In order to retheorize linear notions of influence in cultural production, Bal analyzes the productive relationship between Caravaggio and a number of late-twentieth-century artists who "quote" the baroque master in their own works. These artists include Andres Serrano, Carrie Mae Weems, Ken Aptekar, David Reed, and Ana Mendieta, among others. Each chapter of Quoting Caravaggio shows particular ways in which quotation is vital to the new art but also to the source from which it is derived. Through such dialogue between present and past, Bal argues for a notion of "preposterous history" where works that appear chronologically first operate as an aftereffect caused by the images of subsequent artists.Quoting Caravaggio is a rigorous, rewarding work: it is at once a meditation on history as creative, nonlinear process; a study of the work of Caravaggio and the Baroque; and, not least, a brilliant critical exposition of contemporary artistic representation and practice."[A] profoundly enlivening exercise in art criticism, in which the lens of theory magnifies rather than diminishes its object. . . . [A] remarkable book. . . . The power of Quoting Caravaggio resides in the intelligence and authority of the writer."—Roger Malbert, Times Literary Supplement

    Written in cityscapes around New England, these poems record states of mind, not autobiographical moments: a single person, ducking out of a bright day into the darkness of the cinema to be confronted with a different light, one where "artificial" and "inner" light become confused ... this is Matinees. "Appetite, heat, color, and speed: Matinees has everything you might want from a young poet (or an old poet too, for that matter). They are full of joy and utterly fearless.

    This edition has no associated ISBN

    Categories of desire harden into stereotypes by which the forces of normalization hold us and judge us. In Bodies and Pleasures, Ladelle McWhorter reads Foucault from an original and personal angle, motivated by the differences this experience has made in her life. At the same time, her analysis advances discussion of key issues in Foucault scholarship: the genealogical critique, the status of the subject and humanism, essentialism versus social construction, and the relationships between identity, community, and political action. Weaving her own experience of coming to grips with her lesbian sexual identity into her readings of Foucault's most recent writings on sexuality and power, McWhorter argues compellingly that Foucault's texts should be read less for the arguments they advance and more for their transformative effect. By exploring bodies and pleasures--gardening, line dancing, or doing philosophy, for example--McWhorter shows that it isn't necessary to conform with socially recognized sexual identities. Bodies and Pleasures takes the reader beyond unexplored norms and imposed identities as it points the way toward a personal politics, ethics, and style that challenges our sexual selves.

    In the process, Franco has played a crucial role in developing cultural studies in both the English- and Spanish-speaking worlds. Critical Passions is the first volume to gather a wide-ranging selection of Franco’s influential essays. A key participant in the major debates in Latin American studies—beginning with the “boom” period of the 1960s and continuing through debates on ideology and discourse, Marxism, mass culture, and postmodernism—Franco is recognized for her feminist critique of Latin American writing. While her principal books are all readily available, Franco’s several dozen articles are dispersed in a variety of periodicals in Latin America, Europe, and the United States. Although many of these essays are considered pioneering and classic, they have never before been collected in a single work. In this volume, Mary Louise Pratt and Kathleen Newman have organized the essays into four interrelated sections: feminism and the critique of authoritarianism, mass and popular culture, Latin American literature from the “boom” onward, and the cultural history of Mexico. As a group, these writings demonstrate Franco’s ability to reflect on and judge with equal seriousness all spheres of expression, whether subway graffiti, a fashion manual, or an avant-garde haiku. A bona fide fan of popular and mass media, Franco never allows her critiques to dissolve into the puritanical or reductive; instead, she finds ways to present and debate complex theoretical questions in direct and accessible language. This volume will draw an extensive readership in Latin American, cultural, and women’s studies.

    Literature and the Child, ably edited by James Holt McGavran, should be read by anyone interested in the history of the cultural construction of childhood.--Anne K. Mellor

    These are, on the one hand, the metafictional tendency to blur the boundaries between story-telling and history, to enhance the linguistic component of writing, and to underline the constructedness of the world created in a way that aligns Ackroyd with other postmodernist writers of historiographic metafiction; and on the other, the attempt to achieve mythical closure, expressed, for example, in Ackroyd's fictional treatment of London as a mystic centre of power. This mythical element evinces the influence of high modernists such as Ezra Pound and T.S. Eliot, and links Ackroyd's work to transition-to-postmodern writers such as Lawrence Durrell, Maureen Duffy, Doris Lessing and John Fowles.

    This volume extends Vygotsky's cultural-historical theoretical framework to embrace nuances of learning and development that are influenced by culture as instantiated through the experiences of race, ethnicity, and language variation. This collection serves as a form of collaborative inquiry that itself will stimulate further consideration of these topics and further learning with Vygotsky about the ways in which individuals and social groups inquire and learn.

    It brings together prominent international scholars from moral philosophy, law, political science and sociology to offer a major reconceptualization of the idea of citizenship. Throughout, it is concerned with the dismantling of welfare states, the attack on civil society and the rise in state terror and religious and cultural fundamentalisms. Contributors demonstrate how the growing ambivalence of state sovereignty in the face of multinational capitalism and the absence of political accountability structures are complicit in the definitions of gendered citizenship. Against these, women's communal mobilization and political activism are considered in terms of their power effects and political potentialities; the book as a whole shows the need to negotiate and transcend difference and to find means for creating alliances across differences.

    This volume addresses a wide variety of Irish cultural phenomena, from politics to cinema, from poetry to murals, but it focuses primarily on the tired dichotomies of nationalism and revisionism in order to establish alternative possibilities, both theoretical and practical, for the understanding of the past and the shaping of the future.This book is an outstanding contribution to Irish Studies. It is innovative, challenging, andshould provoke much-needed debate. Above all else, this is a pioneering contribution to the methodology of Irish Studies, theorizing the discipline and placing it in both an international and an interdisciplinary framework.

    Now Penelope Gouk introduces a new element into the debate: how music mediated between these two domains. Arguing that changing musical practice in sixteenth-century Europe affected seventeenth-century English thought on science and magic, she maps the various relationships among these apparently separate disciplines.Gouk explores these relationships in several ways. She adopts the methods of social geography to discuss the disciplinary, social, and intellectual overlapping of music, science, and natural magic. She gives a historical account of the emergence of acoustics in English science, the harmonically based physics of Robert Hooke, and the position of harmonics within Newton’s transformation of natural philosophy. And she provides a gallery of images in which contemporary representations of instruments, practices, and concepts demonstrate the way in which musical models informed and transformed those of natural philosophy. Gouk shows that as the “occult” features of music became subject to the new science of experimentation, and as their causes became evident, so natural magic was pushed outside the realms of scientific discourse.

    The belle, the mammy, religion, and racism are several of the distinctive threads with which southern women writers have woven the fabric of their stories. Bringing southern motherhood into focus -- with all its peculiarities of attitude and tradition -- the essays speak to both the established and the unconventional modes of motherhood that are typical in southern writing and probe the extent to which southern women writers have rejected or embraced, supported or challenged the individual, social, and cultural understanding and institution of motherhood.

    While critically examining the colonial school of analysis (primarily developed by colonial administrators), the author lucidly puts forth his understanding of the core elements of British rule.

    It gives a complete survey of Chopin's music for solo piano, including a graded list of his works, together with detailed and constructive suggestions for study and performance. An extended introduction places Chopin in the context of his time, distancing him from the romantic misconceptions that have dogged his reputation through successive generations.

    At once an investigation of social history, popular culture, legal doctrine, and political theory, her book shows how in contemporary America the history of sexual rights is inextricably intertwined with that of liberalism. Haag examines the nineteenth-century obsession with the perils of seduction and twentieth-century disputes over white slavery, arranged marriages, interracial relationships, and rape. The history of heterosexual modernity and identity must, she argues, be viewed as a crucial component of a much larger historical narrative--that of the ways in which individual freedom and citizenship have been continually redefined in American liberal culture. She illuminates the development of liberalism from its classic stage that ended after the post-Reconstruction era to a modern version that came to fruition with the judicial acceptance of the right to privacy. Finally, she shows how debates over the meaning of heterosexual consent and violence contributed to this transformation.

    As well as providing an excellent overview of the existing literature in the area, the book also develops an understanding of disability that has implications for both sociology and society.

    The work begins by examining Spinoza’s notion of the materiality of writing, a notion developed through his examination of scripture. It then postulates the three fundamental principles of Spinoza’s philosophy: there can be no liberation of the mind without a liberation of the body, and no liberation of the individual without a collective liberation, and that the written form of these propositions itself possesses a corporeal existence, not as the realization or materialization of a pre-existing mental, spiritual intention, but as a body among other bodies. Ultimately, the book prompts us to consider Spinoza’s philosophy anew, by replacing questions like “Who has read it?” and “Of those, how many of us have understood it?” with “What material effects has it produced, not only on or in minds, but on bodies as well?” and “To what extent has it moved bodies and what has it moved them to?”

    Thirty-three contributors provide information on a vast range of literary texts and the conditions of their production and reception. The volume also contains a chronology, full bibliography and a detailed index. This book offers the most extensive account available of the medieval literatures so drastically reconfigured in Tudor England. It will prove essential reading for scholars of the Renaissance as well as medievalists, and for historians as well as literary specialists.

    In philosophy, law, economics, politics, linguistics, and the physical sciences, Scots were key players in changing the way the world was viewed; and this explosion of activity still reverberates. It was the age of David Hume, Thomas Reid, and Adam Smith, of Adam Ferguson, James Hutton, and Sir John Sinclair. In his authoritative introduction, Alexander Broadie emphasises not only the diversity of intellectual discussion taking place in this small country located on the outer edge of Europe, but also the European dimension of this Scottish movement. After the general introduction, the anthology is arranged thematically—Human Nature, Ethics, Aesthetics, Religion, Economics, Social Theory and Politics, Law, Historiography, Language, and Science. These sections gather together well-known and lesser-known writings of the time. Much of the material has not been reprinted since the 18th century. Those with an interest in the Scottish cultural tradition will find many things to hold their attention in this unique book.  Edited and Introduced by Alexander Broadie.

    This book provides a detailed treatment of algebraic topology both for teachers of the subject and for advanced graduate students in mathematics either specializing in this area or continuing on to other fields.J. Peter May's approach reflects the enormous internal developments within algebraic topology over the past several decades, most of which are largely unknown to mathematicians in other fields. But he also retains the classical presentations of various topics where appropriate. Most chapters end with problems that further explore and refine the concepts presented. The final four chapters provide sketches of substantial areas of algebraic topology that are normally omitted from introductory texts, and the book concludes with a list of suggested readings for those interested in delving further into the field.

    from the punk era until today. The author, an academic and musician, carried out over 100 interviews with women playing in British bands from the late 1970s to the mid-1990s. Although the book is primarily sociological, it is easily accessible to the general reader and rich with quotations. It explains the shortage of female instrumentalists and explores the routes and life experiences that have been taken by those exceptional women who do play in bands.

    Employing psychoanalysis, feminist film theory, and the critical race theory articulated in the works of Frantz Fanon and Toni Morrison, T. Denean Sharpley-Whiting argues that black women historically invoked both desire and primal fear in French men. By inspiring repulsion, attraction, and anxiety, they gave rise in the nineteenth-century French male imagination to the primitive narrative of Black Venus. The book opens with an exploration of scientific discourse on black females, using Sarah Bartmann, the so-called Hottentot Venus, and natural scientist Georges Cuvier as points of departure. To further show how the image of a savage was projected onto the bodies of black women, Sharpley-Whiting moves into popular culture with an analysis of an 1814 vaudeville caricature of Bartmann, then shifts onto the terrain of canonical French literature and colonial cinema, exploring the representation of black women by Baudelaire, Balzac, Zola, Maupassant, and Loti. After venturing into twentieth-century film with an analysis of Josephine Baker’s popular Princesse Tam Tam, the study concludes with a discussion of how black Francophone women writers and activists countered stereotypical representations of black female bodies during this period. A first-time translation of the vaudeville show The Hottentot Venus, or Hatred of Frenchwomen supplements this critique of the French male gaze of the nineteenth and early twentieth centuries. Both intellectually rigorous and culturally intriguing, this study will appeal to students and scholars in the fields of nineteenth- and twentieth-century French literature, feminist and gender studies, black studies, and cultural studies.

    Its wide range of contributions locate the important historical developments, interdisciplinary perspectives, and key discourses that have shaped this dynamic area of feminist theory.

    Deleuze, she says, accomplished the "ruin of representation," the complete overthrow of hierarchic, organic thought in philosophy, politics, aesthetics, and ethics, as well as in society at large. In Deleuze's philosophy of difference, she discovers the source of a new ontology of change, which in turn opens up the creation of new modes of life and thought, not only in philosophy and feminism but wherever creation is at stake.The work of contemporary artist Mary Kelly has been central to Olkowski's thinking. In Kelly she finds an artist at work whose creative acts are in themselves the ruin of representation as a whole, and the text is illustrated with Kelly's art. This original and provocative account of Deleuze contributes significantly to a critical feminist politics and philosophy, as well as to an understanding of feminist art.

    This book explains why such a claim was possible to advance and impossible to defend. Ian Baucom reveals how Englishness emerged against the institutions and experiences of the British Empire, rendering English culture subject to local determinations and global negotiations. In his view, the Empire was less a place where England exerted control than where it lost command of its own identity.Analyzing imperial crisis zones--including the Indian Mutiny of 1857, the Morant Bay uprising of 1865, the Amritsar massacre of 1919, and the Brixton riots of 1981--Baucom asks if the building of the empire completely refashioned England's narratives of national identity. To answer this question, he draws on a surprising range of sources: Victorian and imperial architectural theory, colonial tourist manuals, lexicographic treatises, domestic and imperial cricket culture, country house fetishism, and the writings of Ruskin, Kipling, Ford Maddox Ford, Forster, Rhys, C.L.R. James, Naipaul, and Rushdie--and representations of urban riot on television, in novels, and in parliamentary sessions. Emphasizing the English preoccupation with place, he discusses some crucial locations of Englishness that replaced the rural sites of Wordsworthian tradition: the Morant Bay courthouse, Bombay's Gothic railway station, the battle grounds of the 1857 uprising in India, colonial cricket fields, and, last but not least, urban riot zones.

    For Keller Easterling these organizational formats are not merely the context of design efforts--they are the design. Bridging the gap between architecture and infrastructure, Easterling views architecture as part of an ecology of interrelationships and linkages, and she treats the expression of organizational character as part of the architectural endeavor.Easterling also makes the case that these organizational formats are improvisational and responsive to circumstantial change, to mistakes, anomalies, and seemingly illogical market forces. By treating these irregularities opportunistically, she offers architects working within the customary development protocols new sites for making and altering space.By showing the reciprocal relations between systems of thinking and modes of designing, Easterling establishes unexpected congruencies between natural and built environments, virtual and physical systems, highway and communication networks, and corporate and spatial organizations. She frames her unconventional notion of site not in terms of singular entities, but in terms of relationships between multiple sites that are both individually and collectively adjustable.

    It situates critical discourse analysis as a form of critical social research in relation to diverse theories from the philosophy of science to social theory and from political science to sociology and linguistics. First, the authors clarify the ontological and epistemological assumptions of critical discourse analysis - its view of what the social world consists of and how to study it - and, in so doing, point to the connections between critical discourse analysis and critical social scientific research more generally. Secondly, they relate critical discourse analysis to social theory, by creating a research agenda in contemporary social life on the basis of narratives of late modernity, particularly those of Giddens, Habermas, and Harvey as well as feminist and postmodernist approaches. Thirdly, they show the relevance of sociological work in the analysis of discursive aspects of social life, drawing on the work of Bourdieu and Bernstein to theorise the dialectic of social reproduction and change, and on post-structuralist, post-colonial and feminist work to theorise the dialectic of complexity and homogenisation in contemporary societies. Finally, they discuss the relationship between systemic-functional linguistics and critical discourse analysis, showing how the analytical strength of each can benefit from the other.* Sets out a new and distinctive theoretical grounding and research agenda for critical discourse analysis* Interdisciplinary in scope* Draws on a broad range of theories and approaches

    Cascardi argues that postmodern culture does not reject Enlightenment beliefs and explores the link between aesthetics and politics in thinkers as diverse as Habermas, Derrida, Arendt, Nietzsche, Hegel and Wittgenstein. He reverses the tendency to see art simply in terms of the worldly practices among which it is situated. Aesthetic objects, he argues, are themselves capable of disclosing truth.

    In a playful but historically persuasive linkage of diverse texts, Laura Hinton shows how sympathetic spectators love their victims and, in the process, maintain authoritarian codes of sexual and racial difference.

    Through novels, iconography, and texts from various disciplines including law, medicine, and psychology, Vergès constructs a political and cultural history of the island’s relations with France. Woven throughout is Vergès’s own family history, which is intimately tied to the history of Réunion itself. Originally settled by sugar plantation owners and their Indian and African slaves following a seventeenth-century French colonial decree, Réunion abolished slavery in 1848. Because plantation owners continued to import workers from India, Africa, Asia, and Madagascar, the island was defined as a place based on mixed heritages, or métissage. Vergès reads the relationship between France and the residents of Réunion as a family romance: France is the seemingly protective mother, La Mère-Patrie, while the people of Réunion are seen and see themselves as France’s children. Arguing that the central dynamic in the colonial family romance is that of debt and dependence, Verges explains how the republican ideals of the French Revolution and the Enlightenment are seen as gifts to Réunion that can never be repaid. This dynamic is complicated by the presence of métissage, a source of anxiety to the colonizer in its refutation of the “purity” of racial bloodlines. For Vergès, the island’s history of slavery is the key to understanding métissage, the politics of assimilation, constructions of masculinity, and emancipatory discourses on Réunion.

    They are inextricably linked, such that one always bears at least a trace of the other that contaminates or subverts it.The team of contributors explore themes of identity, embodiment, organisation, colonialism, and political transformation, examining them from historical, contemporary and more abstract perspectives within a wide geographical and cultural spectrum. Case studies include German Reunification; Jamaican Yardies on British Television; Victorian Sexuality and Moralisation in Cremorne Gardens; Ethnicity, Gender and Nation in Ecuador; Sport as Power; the film Falling Down.Entanglements of Power presents an exciting and challenging account of the symbiotic relationship between domination and resistance, and contextualises this within the parameters of geography with a rich body of case-study material and a respected team of contributors.