Walter Benjamin is in every sense of the word an "unclassifiable" philosopher. His essay On the Concept of History was written in a state of urgency, as he attempted to escape the Gestapo in 1940, before finally committing suicide. Michael Lowy argues that it remains one of the most important philosophical and political writings of the twentieth century, in this scrupulous, clear and fascinating examination. Looking in detail at Benjamin's celebrated but often mysterious text, and restoring the philosophical, theological and political context, Lowy highlights the complex relationship between redemption and revolution in Benjamin's philosophy of history.

    It is an insightful, sensitive and poetic book of discovery.Drawing on cartography, travels, narratives of childhood in the Caribbean, journeys across the Canadian landscape, African ancestry, histories, politics, philosophies and literature, Dionne Brand sketches the shifting borders of home and nation, the connection to place in Canada and the world beyond.The title, A Map to the Door of No Return, refers to both a place in imagination and a point in history – the Middle Passage. The quest for identity and place has profound meaning and resonance in an age of heterogenous identities.In this exquisitely written and thought-provoking new work, Dionne Brand creates a map of her own art.

    + XXXVIII) ranges from Gorgias and Plato to Sigmund Freud and Mikhail Bakhtin. Each of the 147 contributions has a headnote introducing the writer and making connections to other critics, theorists and movements. An introduction surveys the history of theory and criticism.

    She guides us through the ruins and construction sites of post-communist cities--St. Petersburg, Moscow, Berlin, and Prague--and the imagined homelands of exiles-Benjamin, Nabokov, Mandelstahm, and Brodsky. From Jurassic Park to the Totalitarian Sculpture Garden, Boym unravels the threads of this global epidemic of longing and its antidotes.

    Announced in his first book, on David Hume, then taking off with his early studies of Nietzsche and Bergson, the problem of an -empiricist conversion- became central to Deleuze's work, in particular to his aesthetics and his conception of the art of cinema. In the new regime of communication and information-machines with which he thought we are confronted today, he came to believe that such a conversion, such an empiricism, such a new art and will-to-art, was what we need most. The last, seemingly minor question of -a life- is thus inseparable from Deleuze's striking image of philosophy not as a wisdom we already possess, but as a pure immanence of what is yet to come. Perhaps the full exploitation of that image, from one of the most original trajectories in contemporary philosophy, is also yet to come.

    This acclaimed dictionary is an invaluable introduction to the theories and theorists in the field and will prove an authoritative resource for all students.

    But he also inspires the respect that comes from an illustrious career, and, among many who were his colleagues and peers, he inspired friendship. The Work of Mourning is a collection that honors those friendships in the wake of passing.Gathered here are texts—letters of condolence, memorial essays, eulogies, funeral orations—written after the deaths of well-known figures: Roland Barthes, Paul de Man, Michel Foucault, Louis Althusser, Edmond Jabès, Louis Marin, Sarah Kofman, Gilles Deleuze, Emmanuel Levinas, Jean-François Lyotard, Max Loreau, Jean-Marie Benoist, Joseph Riddel, and Michel Servière.With his words, Derrida bears witness to the singularity of a friendship and to the absolute uniqueness of each relationship. In each case, he is acutely aware of the questions of tact, taste, and ethical responsibility involved in speaking of the dead—the risks of using the occasion for one's own purposes, political calculation, personal vendetta, and the expiation of guilt. More than a collection of memorial addresses, this volume sheds light not only on Derrida's relation to some of the most prominent French thinkers of the past quarter century but also on some of the most important themes of Derrida's entire oeuvre-mourning, the "gift of death," time, memory, and friendship itself."In his rapt attention to his subjects' work and their influence upon him, the book also offers a hesitant and tangential retelling of Derrida's own life in French philosophical history. There are illuminating and playful anecdotes—how Lyotard led Derrida to begin using a word-processor; how Paul de Man talked knowledgeably of jazz with Derrida's son. Anyone who still thinks that Derrida is a facetious punster will find such resentful prejudice unable to survive a reading of this beautiful work."—Steven Poole, Guardian"Strikingly simpa meditations on friendship, on shared vocations and avocations and on philosophy and history."—Publishers Weekly

    Their ideas have important implications for architecture and design. In this, their first major book, they introduce their extraordinary new way of thinking about objects, space and behaviour to a broad audience. The book is divided into three sections: 1. Manifesto, introducing the authors' ideas about electromagnetic space. 2. Conversations, in which Dunne and Raby talk to a variety of designers, architects and artists about the impact electronic technology has on their practice. 3. Placebo, presenting the intriguing results of a project involving Dunne and Raby's working furniture prototypes, including a chair that lets the sitter know when radiation is passing through his body.

    David Graeber reexamines a century of anthropological thought about value and exchange, in large measure to find a way out of quandaries in current social theory, which have become critical at the present moment of ideological collapse in the face of Neoliberalism. Rooted in an engaged, dynamic realism, Graeber argues that projects of cultural comparison are in a sense necessarily revolutionary projects: He attempts to synthesize the best insights of Karl Marx and Marcel Mauss, arguing that these figures represent two extreme, but ultimately complementary, possibilities in the shape such a project might take. Graeber breathes new life into the classic anthropological texts on exchange, value, and economy. He rethinks the cases of Iroquois wampum, Pacific kula exchanges, and the Kwakiutl potlatch within the flow of world historical processes, and recasts value as a model of human meaning-making, which far exceeds rationalist/reductive economist paradigms.

    Everybody's Autonomy is about reading and identity.   Contemporary avant garde writing has often been overlooked by those who study literature and identity. Such writing has been perceived as unrelated, as disrespectful of subjectivity. But Everybody's Autonomy instead locates within avant garde literature models of identity that are communal, connective, and racially concerned. Everybody's Autonomy, as it tackles literary criticism's central question of what sort of selves do works create, looks at works that encourage connection, works that present and engage with large, public worlds that are in turn shared with readers. With this intent, it aligns the iconoclastic work of Gertrude Stein with foreign, immigrant Englishes and their accompanying subjectivities. It examines the critique of white individualism and privilege in the work of language writers Lyn Hejinian and Bruce Andrews. It looks at how Harryette Mullen mixes language writing's open text with the distinctivesness of African-American culture to propose a communal, yet still racially conscious identity. And it examines Theresa Hak Kyung Cha's use of broken English and French to unsettle readers' fluencies and assimilating comprehensions, to decolonize reading. Such works, the book argues, well represent and expand changing notions of the public, of everybody.

    Examining the directions innovative poetry has taken since the emergence and success of the Language movement, the essays discuss new forms and the reorientation of older forms of poetry in order to embody present and ongoing involvements. The essays center around four themes: the relation between poetics and contemporary cultural issues; new directions for avant-garde practices; in-depth explorations of current poets and their predecessors; and innovative approaches to the essay form or individual poetics.Diverging from the traditional, linear argumentative style of academic criticism, many of the essays in this collection instead find critical forms more subtly related to poetry. Viewed as a whole, the essays return to a number of shared issues, namely poetic form and the production of present-day poetry. While focusing on North American poetry, the collection does reference the larger world of contemporary poetics, including potential biases and omissions based on race and ethnicity.This is cutting-edge criticism at its finest, essential reading for students and scholars of avant-garde poetry, of interest to anyone interested in contemporary American literature and poetry.

    As one of Canada's leading poets, McKay has long been known for his passionate engagement with his natural surroundings. This book collects three essays on this relationship, together with new and previously published poems that further demonstrate these ideas. Using bushtits, baler twine, Heidegger and Levinas, McKay sets out to explore some of the almost unspeakable concepts driving the use of language particular to poets, and the arguably skewed relationship human beings have with their natural surroundings. In a book the Globe & Mail calls "stylishly constructed" and "impeccably casual," one of Canada's best-loved writers offers his own sense of poetics.

    Yehudi Menuhin was the general editor of the series originally launched in the 1970s. Every contribution is by an acknowledged master of his chosen instrument. The series is aimed at music students of all ages, amateur musicians, music teachers and all readers actively committed to music. It is the unique merit of the series that each book represents the individual view of its author (within an accepted framework) and, since each contributor is a musician of outstanding talent as well as an expert in his or her particular field, this approach gives the music guides their character and validity.

    Semiotext(e)'s three-decade history mirrors the history of American thought. Founded by French theorist and critic Sylvere Lotringer as a scholarly journal in 1974, Semiotext(e) quickly took on the mission of melding French theory with the American art world and punk underground. Its Foreign Agents, Native Agents, Active Agents and Double Agents imprints have brought together thinkers and writers as diverse as Gilles Deleuze, Assata Shakur, Bob Flanagan, Paul Virillio, Kate Millet, Jean Baudrillard, Michelle Tea, William S. Burroughs, Eileen Myles, Ulrike Meinhof, and Fanny Howe. In Hatred of Capitalism, editors Kraus and Lotringer bring these people together in the same volume for the first time.

    The book argues that, for example, Trainspotting, Blasted, Mojo and Shopping and F**king are much more than a collection of shock tactics - taken together, they represent a consistent critique of modern life, one which focuses on the problem of violence, the crisis of masculinity and the futility of consumerism. The book contains extensive interviews with playwrights, including Sarah Kane (Blasted), Mark Ravenhill (Shopping and F**king), Philip Ridley (The Pitchfork Disney), Patrick Marber (Closer) and Martin McDonagh (The Beauty Queen of Leenane).

    Both a celebration of black gay male identity as well as a powerful critique of the structures that allow for the production of that identity, Black Gay Man introduces the eloquent new voice of Robert Reid-Pharr in cultural criticism.At once erudite and readable, the range of topics and positions taken up in Black Gay Man reflect the complexity of American life itself. Treating subjects as diverse as the Million Man March, interracial sex, anti-Semitism, turn of the century American intellectualism as well as literary and cultural figures ranging from Essex Hemphill and Audre Lorde to W.E.B. DuBois, Frantz Fanon and James Baldwin, Black Gay Man is a bold and nuanced attempt to question prevailing ideas about community, desire, politics and culture. Moving beyond critique, Reid-Pharr also pronounces upon the promises of a new America. With the publication of Black Gay Man, Robert Reid-Pharr is sure to take his place as one of this country's most exciting and challenging left intellectuals.

    A far-reaching exploration of the idea of creation in Western thought, literature, religion, and history, this volume can fairly be called a magnum opus. He reflects on the different ways we have of talking about beginnings, on the "coretiredness" that pervades our end-of-the-millennium spirit, and on the changing grammar of our discussions about the end of Western art and culture. With his well-known elegance of style and intellectual range, Steiner probes deeply into the driving forces of the human spirit and our perception of Western civilization's lengthening afternoon shadows.Roaming across topics as diverse as the Hebrew Bible, the history of science and mathematics, the ontology of Heidegger, and the poetry of Paul Celan, Steiner examines how the twentieth century has placed in doubt the rationale and credibility of a future tense -- the existence of hope. Acknowledging that technology and science may have replaced art and literature as the driving forces in our culture, Steiner warns that this has not happened without a significant loss. The forces of technology and science alone fail to illuminate inevitable human questions regarding value, faith, and meaning. And yet it is difficult to believe that the story out of Genesis has ended, Steiner observes, and he concludes this masterful volume of reflections with an eloquent evocation of the endlessness of beginnings.

    In On the Postcolony he profoundly renews our understanding of power and subjectivity in Africa. In a series of provocative essays, Mbembe contests diehard Africanist and nativist perspectives as well as some of the key assumptions of postcolonial theory.This thought-provoking and groundbreaking collection of essays—his first book to be published in English—develops and extends debates first ignited by his well-known 1992 article "Provisional Notes on the Postcolony," in which he developed his notion of the "banality of power" in contemporary Africa. Mbembe reinterprets the meanings of death, utopia, and the divine libido as part of the new theoretical perspectives he offers on the constitution of power. He works with the complex registers of bodily subjectivity — violence, wonder, and laughter — to profoundly contest categories of oppression and resistance, autonomy and subjection, and state and civil society that marked the social theory of the late twentieth century.This provocative book will surely attract attention with its signal contribution to the rich interdisciplinary arena of scholarship on colonial and postcolonial discourse, history, anthropology, philosophy, political science, psychoanalysis, and literary criticism.

    Topics discussed include the concepts of inner and outer poise, issues affecting practice, visualization and much more.

    Marion renews his argument for a phenomenology of givenness, with penetrating analyses of the phenomena of event, idol, flesh, and icon. Turning explicitly to hermeneutical dimensions of the debate, Marion masterfully draws together issues emerging from his close reading of Descartes and Pascal, Husserl and Heidegger, Levinas and Henry. Concluding with a revised version of his response to Derrida, In the Name: How to Avoid Speaking of It, Marion powerfully re-articulates the theological possibilities of phenomenology.

    Bradley Thompson is Professor of Political Science at Clemson University and the Executive Director of the Clemson Institute for the Study of Capitalism. He is the author of John Adams and the Spirit of Liberty.Please note: This title is available as an ebook for purchase on Amazon, Barnes and Noble, and iTunes.

    Subsequently a member of the Black Liberation Army, he escaped prison twice prior to being arrested following a failed Brink's expropriation in 1981. He died in prison of AIDS-related pneumonia in 1986. Clocking in at 120 pages, this is the most extensive collection of his writings ever published. Includes essays by David Gilbert, Sundiata Acoli, Meg Starr and J Sakai.

    While their perspectives are often different, they have many common reference points: psychoanalysis, above all, but also the authors and works that have come to be known outside France as “post-structuralist.”Beginning with a revealing glance back at the French intellectual scene over the past forty years, Derrida and Roudinesco go on to address a number of major social and political issues. Their extraordinarily wide-ranging discussion covers topics such as immigration, hospitality, gender equality, and “political correctness”; the disordering of the traditional family, same-sex unions, and reproductive technologies; the freedom of the “subject” over and against “scientism”; violence against animals; the haunting specter of communism and revolution; the present and future of anti-Semitism (as well as that which marked Derrida’s own history) and the hazardous politics of criticizing the state of Israel; the principled abolition of the death penalty; and, to conclude, a chapter “in praise of psychoanalysis.”These exchanges not only help to situate Derrida's thought within the milieu out of which it grew, they also show more clearly than ever how this thought, impelled by a deep concern for justice, can be brought to bear on the social and political issues of our day. What emerges here above all, far from an abstract, apolitical discourse, is a call to take responsibility—for the inheritance of a past, for the singularities of the present, and for the unforeseeable tasks of the future.

    How their personal experiences of exile or diaspora translate into cinema is a key focus of Naficy's work. Although the experience of expatriation varies greatly from one person to the next, the films themselves exhibit stylistic similarities, from their open- and closed-form aesthetics to their nostalgic and memory-driven multilingual narratives, and from their emphasis on political agency to their concern with identity and transgression of identity. The author explores such features while considering the specific histories of individuals and groups that engender divergent experiences, institutions, and modes of cultural production and consumption. Treating creativity as a social practice, he demonstrates that the films are in dialogue not only with the home and host societies but also with audiences, many of whom are also situated astride cultures and whose desires and fears the filmmakers wish to express.Comparing these films to Hollywood films, Naficy calls them accented. Their accent results from the displacement of the filmmakers, their alternative production modes, and their style. Accented cinema is an emerging genre, one that requires new sets of viewing skills on the part of audiences. Its significance continues to grow in terms of output, stylistic variety, cultural diversity, and social impact. This book offers the first comprehensive and global coverage of this genre while presenting a framework in which to understand its intricacies.

    Restoring Heidegger's understanding of metaphysics as 'ontotheology' to its rightful place at the center of his later thought, this book explains the depth and significance of his controversial critique of technology, his appalling misadventure with Nazism, his prescient critique of the university, and his important suggestions for the future of higher education. It will be required reading for those seeking to understand the relationship between Heidegger's philosophy and National Socialism as well as the continuing relevance of his work.

    The author also considers the stories of nations and how these may affect the way a national identity can emerge from stories. He looks at the stories of Romulus and Remus in the founding of Rome, the hidden agenda of stories in the antagonism between Britain and Ireland and how stories of alienation in film such as Aliens and Men in Black reveal often disturbing narratives at work in projections of North American national identity. Throughout, On Stories stresses that far from heralding the demise of the story, the digital and supposedly postmodern era opens up powerful new ways of thinking about narrative.

    The organic world, to Solnit, gives rise to the social, political, and philosophical landscapes we inhabit. As Eve Said to the Serpent skillfully weaves the natural world with the realm of art--its history, techniques, and criticism--to offer a remarkable compendium of Solnit's research and ruminations.The nineteen pieces in this book range from the intellectual formality of traditional art criticism to highly personal, lyrical meditations. All are distinguished by Solnit's vivid, original style that blends imaginative associations with penetrating insights. These thoughts produce quirky, intelligent, and wryly humorous content as Solnit ranges across disciplines to explore nuclear test sites, the meaning of national borders, deserts, clouds, and caves--as well as ideas of the feminine and the sublime as they relate to our physical and psychological terrains.Sixty images throughout the book display the work of the contemporary artists under discussion, including landscape photographers, performance artists, sculptors, and installation artists. Alongside her text, Solnit's gallery of images provides a vivid excursion into new ways of perceiving landscape, bodies, and art. Animals and the human body appear together with space and terra firma as Solnit reconfigures the blurred lines that define nature.

    Beckett is a writer whose relevance to his time and use of poetic imagery can be compared to Shakespeare's in the late Renaissance.John Calder has examined the work of Beckett principally for what it has to say about our time in terms of philosophy, theology and ethics, and he points to aspects of his subject's thinking that others have ignored or preferred not to see.Samuel Beckett's acute mind pulled apart with courage and much humour the basic assumptions and beliefs by which most people live. His satire can be biting and his wit devastating. He found no escape from human tragedy in the comforts we build to shield ourselves from reality – even in art, which for most intellectuals has replaced religion. However, he did develop a moral message – one which is in direct contradiction to the values of ambition, success, acquisition and security which is normally held up for admiration, and he looks at the greed, God-worship, and cruelty to others which we increasingly take for granted, in a way that is both unconventional and revolutionary.If this study shocks many readers it is because the honesty, the integrity and the depth of Beckett's thinking- expressed through his novels, plays and poetry, but also through his other writings and correspondence- is itself shocking, to conventional thinking. Yet what he has to say is also comforting. He offers a different ethic and prescription for living – a message based on stoic courage, compassion and an ability to understand and forgive.

    Most are unaware that this most popular American sport was created by the teams that now make up the Ivy League. From the day Princeton played the first intercollegiate game in 1869, these major schools of the northeast--Brown, Columbia, Cornell, Dartmouth, Harvard, Pennsylvania, Princeton, and Yale--shaped football as we now know it. Almost every facet of the game still bears their imprint: they created the All-America team, produced the first coaches, devised the basic rules, invented many of the strategies, developed much of the equipment, and even named the positions. Both the Heisman and Outland trophies are named for Ivy League players.Crowds of 80,000 no longer attend Ivy League games as they did seventy years ago, and Ivy teams are not the powerhouses they once were, but at times they can still be a step ahead of the rest of football, as in 1973 when Brown and Penn started the first black quarterbacks to face each other in major college history.In this rich history, Bernstein shows that much of the culture that surrounds American football, both good and bad, has its roots in the Ivy League. The college fight song is an Ivy League creation (Yale's was written by Cole Porter), as are the marching bands that play them. With their long winning streaks and impressive victories, Ivy teams started a national obsession with football in the first decades of the twentieth century that remains alive today. But football was almost abolished early on because of violence in Ivy games, and it took President Theodore Roosevelt to mediate disagreements about rough play in order for football to remain a college sport. Gambling and ticket scalping were as commonplace then as now, as well as payoffs and recruiting abuses, fueled by the tremendous amount of money generated by the games, revenue that was oftentimes greater than that collected by the rest of the university. But the Ivy teams confronted those abuses, and in so doing helped develop our ideals about the role of athletics in college life. Although Ivy League football and its ancient rivalries have disappeared from big-time sports by their own accord, their legacy remains with every snap of the ball.

    "Van Haute's exegesis of Lacan's essay is as lucid as it is cogent--an admirable (and very illuminating) achievement."-William Richardson

    It traces the root of postmodern theory to a debate on the foundations of mathematics early in the 20th century, then compares developments in mathematics to what took place in the arts and humanities, discussing issues as diverse as literary theory, arts, and artificial intelligence. This is a straightforward, easily understood presentation of what can be difficult theoretical concepts It demonstrates that a pattern of misreading mathematics can be seen both on the part of science and on the part of postmodern thinking. This is a humorous, playful yet deeply serious look at the intellectual foundations of mathematics for those in the humanities and the perfect critical introduction to the bases of modernism and postmodernism for those in the sciences.

    It marks an innovative interdisciplinary approach to questions of embodiment and subjectivity′ - Disability and Society ′This is an elegantly written book which has, as its main aim, to rethink the idea of difference in the western imaginary through a consideration of two themes: monsters and how these have come to define, but potentially to deconstruct, normality; and the whole idea of vulnerability and the vulnerable and the extent to which such a state is one that all of us are constantly in danger of entering ... The theoretical and philosophical content - Derrida, Lacan, Foucault, Irrigaray, Butler, Levinas, and Haraway in particular - together with the range of empirical examples used to illustrate the arguments, make the book an ideal one for third level undergraduates and for post-graduates, particularly those studying the sociology of embodiment, feminist theory, critical theory and cultural studies. Shildrick accomplishes the task of making difficult ideas comprehensible without reducing them to the simplistic′ - Sociology Written by one of the most distinguished commentators in the field, this book asks why we see some bodies as `monstrous′ or `vulnerable′ and examines what this tells us about ideas of bodily `normality′ and bodily perfection.Drawing on feminist theories of the body, biomedical discourse and historical data, Margrit Shildrick argues that the response to the monstrous body has always been ambivalent. In trying to organize it out of the discourses of normality, we point to the impossibility of realizing a fully developed, invulnerable self. She calls upon us to rethink the monstrous, not as an abnormal category, but as a condition of attractivenes, and demonstrates how this involves an exploration of relationships between bodies and embodied selves, and a revising of the phenomenology of the body.

    Much of the Situationist creed was produced in pamphlet form and these 3 were crucial in creating the Situationist legend. They provide both an introduction to the ideas of the Situs and a provocatively seductive invitation to a life of freedom & revolt which prefigues many of the themes of today's mass protestors. Illustrated throughout with photos of the May '68 events and the graffiti that played such a famous role. The 7"X7" size replicates size of the Parisian cobblestones used by the protestors.

    Saul Newman targets the tendency of radical political theories and movements to reaffirm power and authority, in different guises, in their very attempt to overcome it. In his examination of thinkers such as Bakunin, Lacan, Stirner, and Foucault Newman explores important epistemological, ontological, and political questions: Is the essential human subject the point of departure from which power and authority can be opposed? Or, is the humanist subject itself a site of domination that must be unmasked? As it deftly charts this debate's paths of emergence in political thought, the book illustrates how the question of essential identities defines and re-defines the limits and possibilities of radical politics today.

    His main philosophical postulate, that the human subject and society are not predetermined, asserts the primacy of creation and the possibility of creative, autonomous activity in every domain. This argument is combined with penetrating political and social criticism, opening numerous avenues of critical thought and action.The book’s wide-ranging topics include the core worldview of ancient Athens, where the idea of self-creation and self-limitation made democracy possible; the wealth of poetic resources; a deconstruction of the so-called rationality of capitalism and of the current conception of democracy, along with a discussion of what a radical, revolutionary project means today; the role of what he calls the radical imagination in the creation of both societal institutions and history; the roots of hate; a psychoanalytic view of human development torn between heteronomy and autonomy; the role of education in forming autonomous individuals; and notions of chaos, space, and number.

    Abramovic hit upon the idea while she was walking along the Great Wall of China; she realized that it was the first time that she was doing a performance without an audience. To transmit this experience she constructed a series of objects: for ''human use, '' ''spiritual use, '' and ''use of power.'' These objects--made of iron, wood, minerals, pigs' blood, and human hair--all ''contain a certain kind of energy, '' according to Abramovic. She does not see these works as sculptures, but as ephemeral objects that trigger public experiences through direct interaction. Whereas the first two books in the trilogy, "Performing Body" and "Artist Body," focused on the artist and her oeuvre, "Public Body" flips the proverbial script, enacting a role reversal between artist and audience. The book features an impassioned essay by Abramovic concerning her thoughts on public performance and her recent trips to China, India, Japan, and Brazil, as well as an interview with the artist by Germano Celant.

    The contributors focus on texts most commonly read in introductory Old English courses while also engaging with larger issues of Anglo-Saxon history, culture, and scholarship. Their approaches vary widely, encompassing disciplines from linguistics to psychoanalysis.In an appealing introduction to the book, R. M. Liuzza presents an overview of Old English studies, the history of the scholarship, and major critical themes in the field. For both newcomers and more advanced scholars of Old English, these essays will provoke discussion, answer questions, provide background, and inspire an appreciation for the complexity and energy of Anglo-Saxon studies.

    Wendy Brown diagnoses a range of contemporary political tendencies--from moralistic high-handedness to low-lying political despair in politics, from the difficulty of formulating political alternatives to reproaches against theory in intellectual life--as the consequence of this disorientation. Politics Out of History also presents a provocative argument for a new approach to thinking about history--one that forsakes the idea that history has a purpose and treats it instead as a way of illuminating openings in the present by, for example, identifying the haunting and constraining effects of past injustices unresolved. Brown also argues for a revitalized relationship between intellectual and political life, one that cultivates the autonomy of each while promoting their interlocutory potential. This book will be essential reading for all who find the trajectories of contemporary liberal democracies bewildering and are willing to engage readings of a range of thinkers--Freud, Marx, Nietzsche, Spinoza, Benjamin, Derrida--to rethink democratic possibility in our time.

    Italian political thinker Paolo Virno argues that the category of "multitude," elaborated by Spinoza and for the most part left fallow since the seventeenth century, is a far better tool to analyze contemporary issues than the Hobbesian concept of "people," favored by classical political philosophy. Hobbes, who detested the notion of multitude, defined it as shunning political unity, resisting authority, and never entering into lasting agreements. "When they rebel against the state," Hobbes wrote, "the citizens are the multitude against the people." But the multitude isn't just a negative notion, it is a rich concept that allows us to examine anew plural experiences and forms of nonrepresentative democracy. Drawing from philosophy of language, political economics, and ethics, Virno shows that being foreign, "not-feeling-at-home-anywhere," is a condition that forces the multitude to place its trust in the intellect. In conclusion, Virno suggests that the metamorphosis of the social systems in the West during the last twenty years is leading to a paradoxical "Communism of the Capital."

    This book leads the reader through the main areas of phonetics, including how speech sounds are made and how phoneticians classify them in certain ways, the International Phonetic Alphabet, and how sounds are transmitted from speaker to hearer.

    The book format is an alphabetized glossary (with appropriate cross listings) of key terms and concepts in contemporary rhetorical studies. An introductory chapter outlines the definitional ambiguities of the central concept of rhetoric itself. The primary emphasis is on the contemporary tradition of rhetorical studies as it has emerged in the discipline of speech communication.Each entry in the glossary ranges in length from a few paragraphs to a short essay of a few pages. Where appropriate, examples are provided to further illustrate the term or concept. Each entry will be accompanied by a list of references and additional readings to direct the reader to other materials of possible interest.

    A translated selection from the epic five-volume Italian Il Romanzo (2001-2003), The Novel's two volumes are a unified multiauthored reference work, containing more than one hundred specially commissioned essays by leading contemporary critics from around the world. Providing the first international comparative reassessment of the novel, these essential volumes reveal the form in unprecedented depth and breadth--as a great cultural, social, and human phenomenon that stretches from the ancient Greeks to today, where modernity itself is unimaginable without the genre.By viewing the novel as much more than an aesthetic form, this landmark collection demonstrates how the genre has transformed human emotions and behavior, and the very perception of reality. Historical, statistical, and formal analyses show the novel as a complex literary system, in which new forms proliferate in every period and place.Volume 1: History, Geography, and Culture, looks at the novel mostly from the outside, treating the transition from oral to written storytelling and the rise of narrative and fictionality, and covering the ancient Greek novel, the novel in premodern China, the early Spanish novel, and much else, including readings of novels from around the world.These books will be essential reading for all students and scholars of literature.

    Indeed any regular theatergoer is familiar with the experience of a performance that conjures the ghosts of previous productions. The Haunted Stage explores this theatrical déjà vu, and examines how it stimulates the spectator's memory. Relating the dynamics of reception to the interaction between theater and memory, The Haunted Stage uncovers the ways in which the memory of the spectator informs the process of theatrical reception.Marvin Carlson is Sidney E. Cohn Distinguished Professor of Theatre and Comparative Literature at the City University of New York.

    Theoretical and practical, scholarly and engaged, domestic and transnational, this volume combines a thorough canvas of the law of the status of the sexes with an insightful authoritative treatise and creative litigation manual. The first half of the book, Foundations, interrogates the mainstream legal equality paradigm through materials drawn from theory, social science, history, and comparative law. Cases on racism, work, education, athletics, and pregnancy are examined in detail, accessibly presenting the statutory and constitutional materials of sex discrimination law in a fresh light. A chapter on Sex, Race and Nation expands on the connections between racism and sexism raised throughout. Burdens of Proof equips the litigator with basic technical skills while examining the political and theoretical issues on procedural terrain. Applications, the second half of the book, explores issues that have received less legal equality attention, including the law of the family, rape, abortion, prostitution, and pornography. The argument that gay and lesbian rights are sex equality rights is advanced. Sexual harassment in employment and education are discussed in depth. In this volume, legal doctrine and social theory are analyzed together with international and comparative perspectives supplied throughout. Sex Equality provides an exciting interdisciplinary, global, practical state-of-the-art inquiry into the past, present and possible law of relations between the sexes.

    Carefully selected readings chart phenomenology's most famous thinkers, such as Husserl, Heidegger, Sartre and Derrida, as well as less well known figures such as Stein and Scheler. Ideal for introductory courses in phenomenology and continental philosophy, The Phenomenology Reader provides a comprehensive introduction to one of the most influential movements in twentieth-century philosophy.

    The encyclopedic cabinet of curiosities serves as a model for this study of the archaic instruments lurking in state-of-the art technology. Featured in Devices of Wonder are android automata, lunar landscapes, perspective theaters, vues d'optique, microscopes, magnetic games, magic lanterns, camera obscuras, boxes by Joseph Cornell, Lucas Samaras's Mirrored Room, Suzanne Anker's Zoosemiotics, Mark Tilden's UniBug 3.1, panoramic works by Jeff Wall and Giovanni Lusieri, paintings by Jean-Baptiste Chardin and Joseph Wright of Derby, projections by Diana Thater and James Turrell, and a pop-up book by Kara Walker. Barbara Stafford's introduction weaves these fascinating artifacts into a provocative narrative analyzing the complex links between old and new media. Her wide-ranging investigation is complemented by thirty-one short essays in which Frances Terpak tracks the often surprising connections among individual items. Like the cabinet of curiosities, Devices of Wonder functions as an analogical instrument, reframing the beautiful "eye machines" that continue to mediate our encounters with the world. This book is published in conjunction with an exhibition at the Getty Museum from November 13, 2001, through February 6, 2002.

    He applies this method to the history of sexuality, with important consequences for our understanding of desire, abnormality, and sexuality itself.In Davidson's view, it was the emergence of a science of sexuality that made it possible, even inevitable, for us to become preoccupied with our true sexuality. Historical epistemology attempts to reveal how this new form of experience that we call sexuality is linked to the emergence of new structures of knowledge, and especially to a new style of reasoning and the concepts employed within it. Thus Davidson shows how, starting in the second half of the nineteenth century, a new psychiatric style of reasoning about diseases emerges that makes possible, among other things, statements about sexual perversion that quickly become commonplace in discussions of sexuality.Considering a wide range of examples, from Thomas Aquinas to Freud, Davidson develops the methodological lessons of Georges Canguilhem and Michel Foucault in order to analyze the history of our experience of normativity and its deviations.

    She contends that, although postmodern analyses yield important insights about the place of discourse in constituting subjectivity, they lack the ability to examine how experience often exceeds the limits of discourse. To address this lack and explain why it matters for feminist politics, Kruks retrieves and employs aspects of postwar French existential theory--a tradition that, she argues, postmodernism has obscured by militantly rejecting its own genealogy.Kruks seeks to refocus our attention on the importance for feminism of embodied and lived experiences. Through her original readings of Simone de Beauvoir and other existential thinkers--including Sartre, Fanon, and Merleau-Ponty--and her own analyses inspired by their work, Kruks sheds new light on central problems in feminist theory and politics. These include debates about subjectivity and individual agency; questions about recognition and identity politics; and discussion of whether embodied experiences may sometimes facilitate solidarity among groups of different women.

    Through an examination of the work of poets and novelists who have managed to garner honor -- including Shakespeare, Homer, and Emily Dickinson -- and those whose reputations are of more recent vintage and therefore more difficult to evaluate such as Tom Wolfe, Seamus Heaney, and Toni Morrison -- Glenn Arbery explores the title question with elegant prose and subtle criticism.

    Minds, Brains, Computers serves as both an historical and interdisciplinary introduction to the foundations of cognitive science.

    She reveals the connections among gender, race and madness created by the dominant power centers. In her examples, she is equally at home with the short story writer Bessie Head, the novelists Charlotte Bronte and Joseph Conrad and the psychoanalyst Carl Jung - as well as with the many commercial advertisements from the nineteenth century that conjoin whiteness and moral superiority. While fascinated by the ways in which the self, nation and race are constructed in discourse, McClintock also asks us to move beyond discourse studies to investigate the actual people who bore the marks of imperial legislation on their bodies.

    After fleeing his native Vienna when the Nazis took power, he arrived in Chicago, where he spent the rest of his life. He became the most creative figure in the Chicago Institute for Psychoanalysis, and is now remembered as the founder of 'self psychology,' whose emphasis on empathy sought to make Freudian psychoanalysis less neutral. Kohut's life invited complexity. He obfuscated his identity as a Jew, negotiated a protean sexuality, and could be surprisingly secretive about his health and other matters. In this biography, Charles Strozier shows Kohut as a paradigmatic figure in American intellectual life: a charismatic man whose ideas embodied the hope and confusions of a country still in turmoil. Inherent in his life and formulated in his work were the core issues of modern America. The years after World War II were the halcyon days of American psychoanalysis, which thrived as one analyst after another expanded upon Freud's insights. The gradual erosion of the discipline's humanism, however, began to trouble clinicians and patients alike. Heinz Kohut took the lead in the creation of the first authentically home-grown psychoanalytic movement. It took an emigre be so distinctly American. Strozier brings to his telling of Kohut's life all the tools of a skillful analyst: intelligence, erudition, empathy, contrary insight, and a willingness to look far below the surface.

    Intended for advanced undergraduates and beginning graduate students, the volumes in the series provide not only a complete survey of classical theoretical physics but also a large number of worked examples and problems to show students clearly how to apply the abstract principles to realistic problems.

    In this outsdanding collection, writers and scholars in literature, film, television, theatre, music, art, material culture, and other cultural forms explicate Black women's artistry within the context of an activist framework. The contributors are concerned with the politics of cultural production and the ways in which Black women have confronted institutional and social barriers.

    Susan Ehrlich argues that language is central to all legal settings - specifically sexual harassment and acquaintance rape hearings where linguistic descriptions of the events are often the only type of evidence available. Language does not simply reflect but helps to construct the character of the people and events under investigation. The book is based around a case study of the trial of a male student accused of two instances of sexual assault in two different settings: a university tribunal and a criminal trial. This case is situated within international studies on rape trials and is relevant to the legal systems of the US, Canada, Britain, Australia, and New Zealand. She shows how culturally-dominant notions about rape percolate through the talk of sexual assault cases in a variety of settings and ultimately shape their outcome. Ehrlich hopes that to understand rape trials in this way is to recognize their capacity for change. By highlighting the underlying preconceptions and prejudices in the language of courtrooms today, this important book paves the way towards a fairer judicial system for the future.

    Why do people cling to nationalism when it can ultimately be destructive to them, to their families, and to their nations? Why are nationalist conflicts so resistant to attempts at intervention? In The Psychology of Nationalism, the conflict over Nagorno-Karabakh, the war in Sri Lanka, and interactions between students in an American college classroom form the backdrop for an analysis of why we as human beings are so drawn to nationalism. The book argues that identity issues—our attempts to shore up our sometimes-fragile sense of self—underlie the attraction that nationalism exerts on us. It then offers suggestions for negotiations and other interventions to end nationalist conflicts.

    N. Rodowick applies the concept of “the figural” to a variety of philosophical and aesthetic issues. Inspired by the aesthetic philosophy of Jean-François Lyotard, the figural defines a semiotic regime where the distinction between linguistic and plastic representation breaks down. This opposition, which has been the philosophical foundation of aesthetics since the eighteenth century, has been explicitly challenged by the new electronic, televisual, and digital media. Rodowick—one of the foremost film theorists writing today—contemplates this challenge, describing and critiquing the new regime of signs and new ways of thinking that such media have inaugurated.To fully comprehend the emergence of the figural requires a genealogical critique of the aesthetic, Rodowick claims. Seeking allies in this effort to deconstruct the opposition of word and image and to create new concepts for comprehending the figural, he journeys through a range of philosophical writings: Thierry Kuntzel and Marie-Claire Ropars-Wuilleumier on film theory; Jacques Derrida on the deconstruction of the aesthetic; Siegfried Kracauer and Walter Benjamin on the historical image as a utopian force in photography and film; and Gilles Deleuze and Michel Foucault on the emergence of the figural as both a semiotic regime and a new stratagem of power coincident with the appearance of digital phenomena and of societies of control.Scholars of philosophy, film theory, cultural criticism, new media, and art history will be interested in the original and sophisticated insights found in this book.

    But it can also be a uniquely pleasurable experience, one that trades on the erotics of secrecy and revelation. It is precisely passing's radical playfulness, the way it asks us to reconsider our assumptions and forces our most cherished fantasies of identity to self-destruct, that is centrally addressed in Passing: Identity and Interpretation in Sexuality, Race, and Religion. Identity in Western culture is largely structured around visibility, whether in the service of science (Victorian physiognomy), psychoanalysis (Lacan's mirror stage), or philosophy (the Panopticon). As such, it is charged with anxieties regarding classification and social demarcation. Passing wreaks havoc with accepted systems of social recognition and cultural intelligibility, blurring the carefully-marked lines of race, gender, and class. Bringing together theories of passing across a host of disciplines--from critical race theory and lesbian and gay studies, to literary theory and religious studies--Passing complicates our current understanding of the visual and categories of identity. Contributors: Michael Bronski, Karen McCarthy Brown, Bradley Epps, Judith Halberstam, Peter Hitchcock, Daniel Itzkovitz, Patrick O'Malley, Miriam Peskowitz, Mar�a C. S�nchez Linda Schlossberg, and Sharon Ullman.

    An extended interview with the three political prisoners - a frank discussion of past political movements, victories and errors, and the current political climate for revolutionary struggle within the USA.

    The choice of the word reproduction as opposed to interpretation indicates a primary supposition: that there is a clearly defined musical text whose precision exceeds what is visible on the page, and that the performer has the responsibility to reproduce it as accurately as possible, beyond simply playing what is written. This task, according to Adorno, requires a detailed understanding of all musical parameters in their historical context, and his reflections upon this task lead to a fundamental study of the nature of notation and musical sense. In the various notes and texts brought together in Towards a Theory of Musical Reproduction, one finds Adorno constantly circling around an irresolvable paradox: interpretation can only fail the work, yet only through it can musics true essence be captured. While he at times seems more definite in his pronouncement of a musical scores absolute value just as a book is read silently, not aloud his discourse repeatedly displays his inability to cling to that belief. It is this quality of uncertainty in his reflections that truly indicates the scope of the discourse and its continuing relevance to musical thought and practice today.

    Diebold describes diversity and complexity of early medieval art by examining the relationship of word and image. The concept of word and image is broad enough to encompass the Anglo-Saxon art and oral culture of the Sutton Hoo treasure, as well as the literate art of the Carolingian and Ottonian courts. Diebold describes and explains the stunning variety of early medieval objects--illustrated manuscripts, rich metal work, ivories, textiles, statuary, jewels, painting and architecture produced north of the Alps beginning with Pope Gregory's Christianization of England and his justification of images, and ending with the spectacular gold reliquary statue of Ste. Foy at Conques, which separates Early Medieval art from the Romanesque. Diebold also discusses the function of (and audience for) medieval art; he shows why, how, and for whom it was made. Diebold outlines the role of artists and patrons in medieval society, and he explains art's institutional and social status. He defines basic historical and art-historical terms and concepts as they are encountered, and illustrations, a map, a glossary, notes, suggestions for further reading, and an index are included.

    Stiver situates Ricoeur's contributions in the Yale-Chicago debate and shows how Ricoeur's textual theory provides a real alternative to George Lindbeck (on the one hand) and deconstruction (on the other).

    How are group-based identities related to intergroup conflict? When and how do ethnic, religious, and national identities lead to oppression, violence, rebellion, war, mass murder, and genocide? How do intergroup conflicts change people's identities? How might social identity be harnessed in the service of reducing conflict between groups? The chapters in this book present a sophisticated and detailed interdisciplinary analysis of the most fundamental issues in understanding identity and conflict.

    By exploring the theological dimensions of Freud's writings and revealing unexpected psychoanalytic implications in the religious philosophy of Rosenzweig's masterwork, The Star of Redemption, Santner makes an original argument for understanding religions of revelation in therapeutic terms, and offers a penetrating look at how this understanding suggests fruitful ways of reconceiving political community.Santner's crucial innovation in this new study is to bring the theological notion of revelation into a broadly psychoanalytic field, where it can be understood as a force that opens the self to everyday life and encourages accountability within the larger world. Revelation itself becomes redefined as an openness toward what is singular, enigmatic, even uncanny about the Other, whether neighbor or stranger, thereby linking a theory of drives and desire to a critical account of sociality. Santner illuminates what it means to be genuinely open to another human being or culture and to share and take responsibility for one's implication in the dilemmas of difference.By bringing Freud and Rosenzweig together, Santner not only clarifies in new and surprising ways the profound connections between psychoanalysis and the Judeo-Christian tradition, he makes the resources of both available to contemporary efforts to rethink concepts of community and cross-cultural communication.

    Includes a resource list "Essential Readings on Modern Education". Accompanies a CD audio program of Gatto and Yusuf.

    Phelan argues that homosexuals are seen as strangers, ambiguous figures who trouble the border between us and them.

    It is also the first book in this language to offer an in-depth analysis of his music. Toru Takemitsu’s works are increasingly popular with Western audiences and Peter Burt attempts for the first time to shed light on the hitherto rather secretive world of his working methods, as well as place him in context as heir to the rich tradition of Japanese composition in the twentieth century.

    It combines an original student-friendly introduction to Jung, his life and work, his treatment of gender and the range of post-Jungian gender theory, with new research linking Jung to deconstruction, post-Freudian feminism, postmodernism, the sublime, and the postmodern body.Feminism has neglected Jung to its own detriment. While evaluating the reasons for this neglect, Jung: A Feminist Revision uses the diversity of feminist critical tools from historical analysis to poststructuralism. In a fresh and illuminating study, this book provides both a critique of Jung and demonstrates his positive potential for future feminisms. New theories are explored which develop relationships between the work of Jung and Jacques Lacan, Luce Irigaray, H�l�ne Cixous, Julia Kristeva and Judith Butler. Particular attention is paid to the growth of post-Jungian studies of gender. This includes a cogent study of the tradition of Jungian feminism that looks to 'the feminine principle' and narratives of goddesses. Jungian 'goddess' feminism's enduring appeal is re-examined in the context of postmodern re-thinking of subjectivity and gender.The book proposes a re-orientation of Jungian studies in its relationship to feminism. The result is an accessible text that introduces Jung and sets out his relevance to contemporary feminisms.This book will be essential reading for undergraduates and postgraduates studying feminist theory, psychoanalytical theory, literature and psychology.

    Acknowledging that post-colonial theory draws on a wide, often contested, range of theory from different fields, Young analyzes the concepts and issues involved, explains the meaning of key terms, and interprets the work of some of the major writers concerned, to provide an ideal introductory guide for those undergraduates or academics coming to post-colonial theory and criticism for the first time.

    In these essays, philosopher Elizabeth Grosz explores the ways in which two disciplines that are fundamentally outside each another--architecture and philosophy--can meet in a third space to interact free of their internal constraints. Outside also refers to those whose voices are not usually heard in architectural discourse but who inhabit its space--the destitute, the homeless, the sick, and the dying, as well as women and minorities. Grosz asks how we can understand space differently in order to structure and inhabit our living arrangements accordingly. Two themes run throughout the book: temporal flow and sexual specificity. Grosz argues that time, change, and emergence, traditionally viewed as outside the concerns of space, must become more integral to the processes of design and construction. She also argues against architecture's historical indifference to sexual specificity, asking what the existence of (at least) two sexes has to do with how we understand and experience space. Drawing on the work of such philosophers as Henri Bergson, Roger Caillois, Gilles Deleuze, Jacques Derrida, Luce Irigaray, and Jacques Lacan, Grosz raises abstract but nonformalistic questions about space, inhabitation, and building. All of the essays propose philosophical experiments to render space and building more mobile and dynamic.

    Good demonstrates that these trends culminate in the prison-like "carceral" vision of Michel Foucault and his followers: the view that culture is ideology and that culture does not free humans but incarcerates them. Good contrasts this view with the liberal vision of culture and society represented by Northrop Frye, concluding with an analysis of the relationship between anti-humanist theory among academics and the managerial practices of university administrations, which, he argues, neglect or reject basic humanistic values such as free individuality, aesthetic greatness, and autonomous inquiry.

    Neither a survey of masterpieces nor a biographical sourcebook, The Companion to Southern Literature treats every conceivable topic found in southern writing from the pre-Columbian era to the present, referencing specific works of all periods and genres. Top scholars in their fields offer original definitions and examples of the concepts they know best, identifying the themes, burning issues, historical personalities, beloved icons, and common or uncommon stereotypes that have shaped the most significant regional literature in memory.Read the copious offerings straight through in alphabetical order (Ancestor Worship, Blue-Collar Literature, Caves) or skip randomly at whim (Guilt, The Grotesque, William Jefferson Clinton). Whatever approach you take, The Companion's authority, scope, and variety in tone and interpretation will prove a boon and a delight. Explored here are literary embodiments of the Old South, New South, Solid South, Savage South, Lazy South, and "Sahara of the Bozart." As up-to-date as grit lit, K Mart fiction, and postmodernism, and as old-fashioned as Puritanism, mules, and the tall tale, these five hundred entries span a reach from Lady to Lesbian Literature.The volume includes an overview of every southern state's belletristic heritage while making it clear that the southern mind extends beyond geographical boundaries to form an essential component of the American psyche. The South's lavishly rich literature provides the best means of understanding the region's deepest nature, and The Companion to Southern Literature will be an invaluable tool for those who take on that exciting challenge.Description of Contents 500 lively, succinct articles on topics ranging from Abolition to Yoknapatawpha 250 contributors, including scholars, writers, and poets 2 tables of contents -- alphabetical and subject -- and a complete index A separate bibliography for most entries

    A book for everyone interested in learning how philosophy is done and what it can tell us about who we are.

    As Cary Nelson shows, it is not only our image of the past but also our sense of the present and future that changes when we recover these revolutionary memories. Making a forceful case for political poetry as poetry, Nelson brings to bear his extraordinary knowledge of American poets, radical movements, and social struggles in order to bring out an undervalued strength in a literature often left at the canon's edge. Focused in part of the red decade of the 1930s, Revolutionary Memory revitalizes biographical criticism for writers on the margin and shows us for the first time how progressive poets fused their work into a powerful chorus of political voices. Richly detailed and beautifully illustrated with period engravings and woodcuts, Revolutionary Memory brings that chorus dramatically to life and set a cultural agenda for future work.

    Tocqueville's ''nation of joiners'' seems to have become a nation of alienated individuals, disinclined to fulfill the obligations of citizenship or the responsibilities of self-government. In response, the critics urge community involvement and renewed education in the civic virtues. But what kind of civic engagement do we want, and what sort of citizenship should we encourage? In Socratic Citizenship, Dana Villa takes issue with those who would reduce citizenship to community involvement or to political participation for its own sake. He argues that we need to place more value on a form of conscientious, moderately alienated citizenship invented by Socrates, one that is critical in orientation and dissident in practice.Taking Plato's Apology of Socrates as his starting point, Villa argues that Socrates was the first to show, in his words and deeds, how moral and intellectual integrity can go hand in hand, and how they can constitute importantly civic--and not just philosophical or moral--virtues. More specifically, Socrates urged that good citizens should value this sort of integrity more highly than such apparent virtues as patriotism, political participation, piety, and unwavering obedience to the law. Yet Socrates' radical redefinition of citizenship has had relatively little influence on Western political thought. Villa considers how the Socratic idea of the thinking citizen is treated by five of the most influential political thinkers of the past two centuries--John Stuart Mill, Friedrich Nietzsche, Max Weber, Hannah Arendt, and Leo Strauss. In doing so, he not only deepens our understanding of these thinkers' work and of modern ideas of citizenship, he also shows how the fragile Socratic idea of citizenship has been lost through a persistent devaluation of independent thought and action in public life.Engaging current debates among political and social theorists, this insightful book shows how we must reconceive the idea of good citizenship if we are to begin to address the shaky fundamentals of civic culture in America today.

    Expanding on concepts originally formulated by Pierre Bourdieu and James Coleman, this seminal work will find an essential place with educators and students in the fields of social networks, rational choice theory, institutions, and the socioeconomics of poverty, labor markets, social psychology, and race.The volume is divided into three parts. The first segment clarifies social capital as a concept and explores its theoretical and operational bases. Additional segments provide brief accounts that place the development of social capital in the context of the family of capital theorists, and identify some critical but controversial perspectives and statements regarding social capital in the literature. The editors then make the argument for the network perspective, why and how such a perspective can clarify controversies and advance our understanding of a whole range of instrumental and expressive outcomes.Social Capital further provides a forum for ongoing research programs initiated by social scientists working at the crossroads of formal theory and new methods. These scholars and programs share certain understandings and approaches in their analyses of social capital. They argue that social networks are the foundation of social capital. Social networks simultaneously capture individuals and social structure, thus serving as a vital conceptual link between actions and structural constraints, between micro- and macro-level analyses, and between relational and collective dynamic processes. They are further cognizant of the dual significance of the "structural" features of the social networks and the "resources" embedded in the networks as defining elements of social capital.

    Byatt in the context of contemporary debates about art, authorship, creativity, and gender. A.S. Byatt emerges as an author who presents us with fascinating and ambivalent portraits of writers and who uses metaphors of creativity in original ways.

    Horner argues that these representations derive from a "discourse" of female monastic enclosure, based on the increasingly strict rules of cloistered confinement that regulated the female religious body in the early Middle Ages. She shows that the female subjects of much Old English literature are enclosed by many layers--literal and figurative, textual, material, discursive, spatial--all of which image and reinforce the powerful institutions imposed by the Church on the female body. Though it has long been recognized that medieval religious women were enclosed, and that virginity was highly valued, this book is the first to consider the interrelationships of these two positions--that is, how the material practices of female monasticism inform the textual operations of Old English literature.

    In his own day, he was most celebrated for his Vedute, 137 etchings of ancient and modern Rome; so renowned were these startling and dramatic chiaroscuro images, imbued with Piranesi's romantic feeling for archaeological ruins, that they formed the mental picture of Rome for generations after. Indeed, Piranesi could be said to have shaped a whole strain of contemporary architecture, as well as the wider visualization of antiquity itself. In our time, he has had a direct influence on writers such as Borges and Kafka and on filmmakers such as Terry Gilliam and Peter Greenaway. Anyone who contemplates Piranesi's etchings will confront the existential nightmare of human existence and its infinite mysteries

    From the invention of the alphabet to the development of ASCII code for electronic communication, the process of recording and transmitting this body of knowledge has reflected the dominant information technologies of each period. In this book Mario Carpo discusses the communications media used by Western architects, from classical antiquity to modern classicism, showing how each medium related to specific forms of architectural thinking.Carpo highlights the significance of the invention of movable type and mechanically reproduced images. He argues that Renaissance architectural theory, particularly the system of the five architectural orders, was consciously developed in response to the formats and potential of the new printed media. Carpo contrasts architecture in the age of printing with what preceded it: Vitruvian theory and the manuscript format, oral transmission in the Middle Ages, and the fifteenth-century transition from script to print. He also suggests that the basic principles of "typographic" architecture thrived in the Western world as long as print remained our main information technology. The shift from printed to digital representations, he points out, will again alter the course of architecture.

    Editors Stephen Reese, Oscar Gandy, and August Grant employ an interdisciplinary approach to the study of conceptualizing and examining media. They illustrate how texts and those who provide them powerfully shape, or "frame," our social worlds and thus affect our public life. Embracing qualitative and quantitative, visual and verbal, and psychological and sociological perspectives, this book helps media consumers develop a multi-faceted understanding of media power, especially in the realm of news and public affairs.

    Megill's examination of Marx's formative writings casts new light on Marx's relation to philosophy and reveals a hitherto largely unknown 'rationalist' Marx. In demonstrating how Marx's rationalism permeated his attempts to understand politics, economics, and history generally, Megill forces the reader to rethink Marx's entire intellectual project. While Megill writes as an intellectual historian and historian of philosophy, his highly original redescription of the Marxian enterprise has important implications for how we think about the usability of Marx's work today. Karl Marx: The Burden of Reason will be of interest to those who wish to reflect on the fate of Marxism during the era of Soviet Communism. It will also be of interest to those who wish to discern what is living and what is dead, what is adequate and what requires replacement or supplementation, in the work of a figure who, in spite of everything, remains one of the greatest philosophers and social scientists of the modern world.

    For many, girls represented the true essence of childhood or bygone times of innocence; but for middle-class men, especially writers, the interest ran much deeper. In Men in Wonderland, Catherine Robson explores the ways in which various nineteenth-century British male authors constructed girlhood, and analyzes the nature of their investment in the figure of the girl. In so doing, she reveals the link between the idealization of little girls and a widespread fantasy of male development--a myth suggesting that men become masculine only after an initial feminine stage, lived out in the protective environment of the nursery. Little girls, argues Robson, thus offer an adult male the best opportunity to reconnect with his own lost self.Tracing the beginnings of this myth in the writings of Romantics Wordsworth and De Quincey, Robson identifies the consolidation of this paradigm in numerous Victorian artifacts, ranging from literary works by Dickens and Barrett Browning, to paintings by Frith and Millais, to reports of the Royal Commission on Children's Employment. She analyzes Ruskin and Carroll's "high noon" of girl worship and investigates the destruction of the fantasy in the closing decades of the century, when social concerns about the working girl sexualized the image of young females.Men in Wonderland contributes to a growing interest in the nineteenth century's construction of childhood, sexuality, and masculinity, and illuminates their complex interconnections with a startlingly different light. Not only does it complicate the narratives of pedophilic desire that are generally used to explain figures like Ruskin and Carroll, but it offers a new understanding of the Victorian era's obsession with loss, its rampant sentimentality, and its intense valorization of the little girl at the expense of mature femininity.

    In their suddenness and intensity, they map a personal world, fix and qualify our attention, and impel our actions. Outraged anger drives us to write laws that will later be enforced by impersonal justice. Intense grief at the death of someone in our life discloses the contours of that life to us. Wonder spurs scientific inquiry.The strong current of Western thought that idealizes a dispassionate world has ostracized the passions as quaint, even dangerous. Intense states have come to be seen as symptoms of pathology. A fondness for irony along with our civic ideal of tolerance lead us to prefer the diluted emotional life of feelings and moods. Demonstrating enormous intellectual originality and generosity, Philip Fisher meditates on whether this victory is permanent-and how it might diminish us.From Aristotle to Hume to contemporary biology, Fisher finds evidence that the passions have defined a core of human nature no less important than reason or desire. Traversing the Iliad, King Lear, Moby Dick, and other great works, he discerns the properties of the high-spirited states we call the passions. Are vehement states compatible with a culture that values private, selectively shared experiences? How do passions differ from emotions? Does anger have an opposite? Do the passions give scale, shape, and significance to our experience of time? Is a person incapable of anger more dangerous than someone who is irascible?In reintroducing us to our own vehemence, Fisher reminds us that it is only through our strongest passions that we feel the contours of injustice, mortality, loss, and knowledge. It is only through our personal worlds that we can know the world.

    Arguing that much is lost or erased when the Asia-Pacific War(s) are reduced to the 1941–1945 war between Japan and the United States, this collection challenges mainstream memories of the Second World War in favor of what were actually multiple, widespread conflicts. The contributors recuperate marginalized or silenced memories of wars throughout the region—not only in Japan and the United States but also in China, Southeast Asia, the Pacific Islands, Okinawa, Taiwan, and Korea. Firmly based on the insight that memory is always mediated and that the past is not a stable object, the volume demonstrates that we can intervene positively yet critically in the recovery and reinterpretation of events and experiences that have been pushed to the peripheries of the past. The contributors—an international list of anthropologists, cultural critics, historians, literary scholars, and activists—show how both dominant and subjugated memories have emerged out of entanglements with such forces as nationalism, imperialism, colonialism, racism, and sexism. They consider both how the past is remembered and also what the consequences may be of privileging one set of memories over others. Specific objects of study range from photographs, animation, songs, and films to military occupations and attacks, minorities in wartime, “comfort women,” commemorative events, and postwar activism in pursuing redress and reparations. Perilous Memories is a model for war memory intervention and will be of interest to historians and other scholars and activists engaged with collective memory, colonial studies, U.S. and Asian history, and cultural studies.Contributors. Chen Yingzhen, Chungmoo Choi, Vicente M. Diaz, Arif Dirlik, T. Fujitani, Ishihara Masaie, Lamont Lindstrom, George Lipsitz, Marita Sturken, Toyonaga Keisaburo, Utsumi Aiko, Morio Watanabe, Geoffrey M. White, Diana Wong, Daqing Yang, Lisa Yoneyama

    Criticism on modern Indonesian literature.

    It explores the relationship between AAE and other varieties of English (namely Southern White Vernaculars, Gullah, and Caribbean English creoles), language use in the African American community (e.g., Hip Hop, women's language, and directness), and application of our knowledge about AAE to issues in education (e.g., improving overall academic success). To its credit (since most books avoid the issue), the volume also seeks to define the term 'AAE' and challenge researchers to address the complexity of defining a language and its speakers. The volume collectively tries to help readers better understand language use in the African American community and how that understanding benefits all who value language variation and the knowledge such study brings to our society.

    In an analysis that spans the first two-thirds of the twentieth century, Bohn surveys writers and artists from France, Italy, Germany, Spain, Argentina, Mexico, Chile, and the United States, examining both their aversion to mimesis and the solutions they devised to replace it. Much of the book is concerned with competing artistic models and with different strategies for creating avant-garde works, and focuses on such figures as Guillaume Apollinaire, Max Weber, Marius de Zayas, Francis Picabia, Giorgio de Chirico, Andre Breton, J. V. Foix, and Joan Miro. The dynamics of the imagery that painters and poets chose to employ and the new roles this imagery assumed in their compositions are also discussed.

    Addressing a constellation of diverse thinkers—including Emmanuel Levinas, Patricia Williams, Jean-François Lyotard, Michel Foucault, Frantz Fanon, Julia Kristeva, and Luce Irigaray—the author proposes a new conception of ethics, an ethics of dissensus that rethinks the relation between freedom and obligation in a double context of embodiment and antagonism.As the unavoidable yet productive dissonance among antagonism, freedom, and obligation suggests, the ethics of dissensus seeks not to transcend politics but to articulate the difficult role of responsibility and freedom in democratic struggles against racist and sexist oppression. Opposing the conservative political work of privatized moral discourse that reduces social antagonism to the apolitical experience of good and evil, the ethics of dissensus calls into question not only the depoliticized subject of ethics but also the disembodied notions of citizenship, rights, and democratic community.

    Early in the 20th century, John Dewey elaborated human existence as a set of patterns of behavior or actions shaped by the environment. Underscoring the continued relevance of his thought, Sullivan brings Dewey into conversation with Continental philosophers--Nietzsche and Merleau-Ponty--and feminist philosophers--Butler and Harding--to expand thinking about the body. Emphasizing topics such as the role of habit, the discursivity of bodies, communication and meaning, personal and cultural structures of gender, the improvement of bodily experience, and understandings of truth and objectivity, Living Across and Through Skins acknowledges the importance of the body's experience without placing it in opposition to psychological, cultural, and social aspects of human life. By focusing on what bodies do, rather than what they are, Sullivan prompts a closer look at concrete, physical transactions that might be changed to improve human experiences of the world.

    In Who Translates? Douglas Robinson uses this adage to set up a series of postrationalist perspectives on translation, all based on the recognition that translation has always been thought of in terms of the translator's surrender to forces beyond his or her rational control. Exploring this theme, Robinson examines Plato's Ion, Philo Judaeus and Augustine on the Septuagint, Paul on inspired interpreters, Joseph Smith on the Book of Mormon, and Schleiermacher, Marx, and Heidegger on translation. He traces the imaginative and historical linkages between twentieth-century conceptions of ideology and ancient conceptions of spirit-channeling, and the performative inversion of power relations by which the channel (or translator) comes to wield the source author as his or her tool. And he argues throughout for a postrationalist conception of translation based not on the translator's rational control of words and meanings but rather on a flowing through the translator of voices and textualities.

    It illuminates the flexible boundaries of what can be seen or interpreted as painting and that medium's interrelationships with sculpture, photography, and installation, highlighting points of convergence and divergence.

    Written by an international team of scholars, the Companion offers a wealth of biographical and historical information that illuminates Eliot's work. There are entries on all her novels (including plot synopses), stories, and important essays, plus coverage of poetry and translations, letters and journals, and notebooks and manuscripts. A long entry surveys her life, and shorter entries discuss her family, friends, and acquaintances, the places she lived and the countries she visited, and the writers, thinkers, artists, and composers whose work she knew. The volume also includes extensive cross-referencing and suggestions for further reading, a chronology, a bibliography, an alphabetical list of fictional characters, and maps of both fictional settings and the author's extensive travels. In sum, this is the first reference work to do justice to the extraordinary range and depth of George Eliot's intellectual life.

    Through interviews with children of survivors, this book explores communication in survivor families from the perspective of the postwar generation. Explaining the effects of trauma on communication, this book offers an understanding of the language of silence that often becomes the first step to healing. This book also touches on different types of trauma, such as the loss of a family member and survivors of child abuse.

    Having announced it possessed the requisite credentials for membership in the nuclear club in 1974, India quickly disavowed any desire to join, pledging not to develop its capability further.. As the Pokhran explosions revealed, that promise would not be kept for ever, and the principal beneficiary of its breaking was now to be a right-wing government seeking to shore up its shaky political base by demonstrating its commitment to the ‘Hindu bomb’.While most in the West were taken unawares by this sudden bellicosity in the land of Ghandi, more scrupulous observers on the South-Asian scene insisted it had a clear history. In this, his first book since the hotly debated In Theory, Aijaz Ahmad untangles many of the intertwined threads of historical and political traditions in a still-too-poorly-understood region of the world.

    we have a subconscious glimmering of the impossibility of the modern approach to nature and some sense that things have to change." - Rudolf SteinerRudolf Steiner's course on light, which includes explorations of color, sound, mass, electricity and magnetism, presages the dawn of a new world view in the natural sciences that will stand our notion of the physical world on its head.This "first course" in natural science, given to the teachers of the new Stuttgart Waldorf School as an inspiration for developing the physics curriculum, is based on Goethe's phenomenological approach to the study of nature. Acknowledging that modern physicists had come to regard Goethe's ideas on physics as a "kind of nonsense," Steiner contrasts the traditional scientific approach, which treats phenomena as evidence of "natural laws," with Goethean science, which rejects the idea of an abstract law behind natural phenomena and instead seeks to be a "rational description of nature." Steiner then corrects the mechanistic reductionism practiced by scientific positivists, emphasizing instead the validity of human experience and pointing toward a revolution in scientific paradigms that would reclaim ground for the subject-the human being-in the study of nature.

    H. Lawrence offers a series of new perspectives on one of the most important and controversial writers of the twentieth century. These specially commissioned essays offer diverse and stimulating readings of Lawrence's major novels, short stories, poetry and plays, and place Lawrence's writing in a variety of literary, cultural, and political contexts, such as modernism, sexual and ethnic identity, and psychoanalysis. The volume, which will be of interest to scholars and students alike, features a detailed chronology and a comprehensive guide to further reading.

    He brings to light a wealth of eighteenth and nineteenth-century Indo-Persian texts, made "homeless" by subsequent nationalist histories and shows how they relate to Indo-Iranian modernity. In doing so, he argues for a radical rewriting of Iranian history with profound implications for Islamic debates on gender.

    Cultural Sociology collects 31 seminal essays by renowned social thinkers that introduce cultural sociology to an emerging generation of students and scholars.

    Smith, best known for her sculptures of the human body, presents her recent photographic and multimedia work on the theme of fairy tales. The centerpiece of this book is the full-color visual essay of her renditions and investigations of the characters of Little Red Riding Hood and the Wolf, the biblical Eve juxtaposed with Snow White, and various enigmatic female puppets. Through these symbolic female figures, the artist explores themes of temptation and sexuality, attraction and danger, and the impact of knowledge. Myths, fairy tales, and childhood fantasies predominate.