Focusing on the “orientation” aspect of “sexual orientation” and the “orient” in “orientalism,” Ahmed examines what it means for bodies to be situated in space and time. Bodies take shape as they move through the world directing themselves toward or away from objects and others. Being “orientated” means feeling at home, knowing where one stands, or having certain objects within reach. Orientations affect what is proximate to the body or what can be reached. A queer phenomenology, Ahmed contends, reveals how social relations are arranged spatially, how queerness disrupts and reorders these relations by not following the accepted paths, and how a politics of disorientation puts other objects within reach, those that might, at first glance, seem awry.Ahmed proposes that a queer phenomenology might investigate not only how the concept of orientation is informed by phenomenology but also the orientation of phenomenology itself. Thus she reflects on the significance of the objects that appear—and those that do not—as signs of orientation in classic phenomenological texts such as Husserl’s Ideas. In developing a queer model of orientations, she combines readings of phenomenological texts—by Husserl, Heidegger, Merleau-Ponty, and Fanon—with insights drawn from queer studies, feminist theory, critical race theory, Marxism, and psychoanalysis. Queer Phenomenology points queer theory in bold new directions.

    In this volume, Karen Barad, theoretical physicist and feminist theorist, elaborates her theory of agential realism. Offering an account of the world as a whole rather than as composed of separate natural and social realms, agential realism is at once a new epistemology, ontology, and ethics. The starting point for Barad’s analysis is the philosophical framework of quantum physicist Niels Bohr. Barad extends and partially revises Bohr’s philosophical views in light of current scholarship in physics, science studies, and the philosophy of science as well as feminist, poststructuralist, and other critical social theories. In the process, she significantly reworks understandings of space, time, matter, causality, agency, subjectivity, and objectivity.In an agential realist account, the world is made of entanglements of “social” and “natural” agencies, where the distinction between the two emerges out of specific intra-actions. Intra-activity is an inexhaustible dynamism that configures and reconfigures relations of space-time-matter. In explaining intra-activity, Barad reveals questions about how nature and culture interact and change over time to be fundamentally misguided. And she reframes understanding of the nature of scientific and political practices and their “interrelationship.” Thus she pays particular attention to the responsible practice of science, and she emphasizes changes in the understanding of political practices, critically reworking Judith Butler’s influential theory of performativity. Finally, Barad uses agential realism to produce a new interpretation of quantum physics, demonstrating that agential realism is more than a means of reflecting on science; it can be used to actually do science.

    In Canada, the Caribbean, and the United States, black women inhabit diasporic locations marked by the legacy of violence and slavery. Analyzing diverse literatures and material geographies, McKittrick reveals how human geographies are a result of racialized connections, and how spaces that are fraught with limitation are underacknowledged but meaningful sites of political opposition. Demonic Grounds moves between past and present, archives and fiction, theory and everyday, to focus on places negotiated by black women during and after the transatlantic slave trade. Specifically, the author addresses the geographic implications of slave auction blocks, Harriet Jacobs’s attic, black Canada and New France, as well as the conceptual spaces of feminism and Sylvia Wynter’s philosophies. Central to McKittrick’s argument are the ways in which black women are not passive recipients of their surroundings and how a sense of place relates to the struggle against domination. Ultimately, McKittrick argues, these complex black geographies are alterable and may provide the opportunity for social and cultural change. Katherine McKittrick is assistant professor of women’s studies at Queen’s University.

    Offering inspiration and intellectual delight, the problems throughout the book encourage students to express their ideas in writing to explain how they conceive problems, what conjectures they make, and what conclusions they reach. Applying specific techniques and strategies, readers will acquire a solid understanding of the fundamental concepts and ideas of number theory.

    The book was assembled posthumously on the basis of two published sections, one written and recorded session, and one informal recorded session.The book is at once an affectionate look back over the multiple roles played by animals in Derrida's work and a profound philosophical investigation and critique of the relegation of animal life that takes place as a result of the distinction—dating from Descartes—between man as thinking animal and every other living species. That starts with the very fact of the line of separation drawn between the human and the millions of other species that are reduced to a single "the animal." Derrida finds that distinction, or versions of it, surfacing in thinkers as far apart as Descartes, Kant, Heidegger, Lacan, and Lévinas, and he dedicates extended analyses to the question in the work of each of them.The book's autobiographical theme intersects with its philosophical analysis through the figures of looking and nakedness, staged in terms of Derrida's experience when his cat follows him into the bathroom in the morning. In a classic deconstructive reversal, Derrida asks what this animal sees and thinks when it sees this naked man. Yet the experiences of nakedness and shame also lead all the way back into the mythologies of "man's dominion over the beasts" and trace a history of how man has systematically displaced onto the animal his own failings or bêtises. The Animal That Therefore I Am is at times a militant plea and indictment regarding, especially, the modern industrialized treatment of animals. However, Derrida cannot subscribe to a simplistic version of animal rights that fails to follow through, in all its implications, the questions and definitions of "life" to which he returned in much of his later work.Collection: Perspectives in Continental Philosophy

    Inspired by the spa’s majestic surroundings, Zumthor built the structure on the sharp grade of an Alpine mountain slope with grass-topped roofs to mimic Swiss meadows, captured here in a series of sumptuous images. Peter Zumthor Therme Vals, the only book-length study of this singular building, features the architect’s own original sketches and plans for its design as well as Hélène Binet’s striking photographs of the structure. Architectural scholar Sigrid Hauser contributes an essay on such topics as “Artemis/Diana,” “Baptism,” “Mikvah,” and “Spring”—drawing out the connections between the elemental nature of the spa and mythology, bathing, and purity.Annotations by Peter Zumthor on his design concept and the building process elucidate the structure’s symbiotic relationship to its natural surroundings, revealing, for example, why he insisted on using locally quarried stone. Therme Vals’s scenic design elements, and Zumthor’s contributions to this book, reflect the architect’s commitment to the essential and his disdain for needless architectural flourishes. This lavishly illustrated volume about the spa that catapulted a remote Swiss village onto the international architecture scene will entrance all enthusiasts of contemporary design.

    Bromberg is among our most gifted clinical writers, especially in his unique ability to record peripheral variations in relatedness - those subtle, split-second changes that capture the powerful workings of dissociation and chart the changing self-states that analyst and patient bring to the moment.For Bromberg, a model of mind premised on the centrality of self-states and dissociation not only offers the optimal lens for comprehending and interpreting clinical data; it also provides maximum leverage for achieving true intersubjective relatedness. And this manner of looking at clinical data offers the best vantage point for integrating psychoanalytic experience with the burgeoning findings of contemporary neuroscience, cognitive and developmental psychology, and attachment research.Dreams are approached not as texts in need of deciphering but as means of contacting genuine but not yet fully conscious self-states. From here, he explores how the patient's "dreamer" and the analyst's "dreamer" can come together to turn the "real" into the "really real" of mutative therapeutic dialogue. The "difficult," frequently traumatized patient is newly appraised in terms of tensions within the therapeutic dyad. And then there is the "haunted" patient who carries a sense of preordained doom through years of otherwise productive work - until the analyst can finally feel the patient's doom as his or her own.Laced with Bromberg's characteristic honesty, humor, and thoughtfulness, these essays elegantly attest to the mind's reliance on dissociation, in both normal and pathological variants, in the ongoing effort to maintain self-organization. Awakening the Dreamer, no less than Standing in the Spaces, is destined to become a permanent part of the literature on therapeutic process and change.

    Emerging in early modern Europe to defuse violent religious conflict and reduce persecution, tolerance today is hailed as a key to decreasing conflict across a wide range of other dividing lines-- cultural, racial, ethnic, and sexual. But, as political theorist Wendy Brown argues in Regulating Aversion, tolerance also has dark and troubling undercurrents.Dislike, disapproval, and regulation lurk at the heart of tolerance. To tolerate is not to affirm but to conditionally allow what is unwanted or deviant. And, although presented as an alternative to violence, tolerance can play a part in justifying violence--dramatically so in the war in Iraq and the War on Terror. Wielded, especially since 9/11, as a way of distinguishing a civilized West from a barbaric Islam, tolerance is paradoxically underwriting Western imperialism.Brown's analysis of the history and contemporary life of tolerance reveals it in a startlingly unfamiliar guise. Heavy with norms and consolidating the dominance of the powerful, tolerance sustains the abjection of the tolerated and equates the intolerant with the barbaric. Examining the operation of tolerance in contexts as different as the War on Terror, campaigns for gay rights, and the Los Angeles Museum of Tolerance, Brown traces the operation of tolerance in contemporary struggles over identity, citizenship, and civilization.

    In Decoding the Universe, Charles Seife draws on his gift for making cutting-edge science accessible to explain how this new tool is deciphering everything from the purpose of our DNA to the parallel universes of our Byzantine cosmos. The result is an exhilarating adventure that deftly combines cryptology, physics, biology, and mathematics to cast light on the new understanding of the laws that govern life and the universe.

    In 1961 Jack Spicer wrote: It is not unfair to say that a city is a collection of humans. Human beings. In their municipal trust they sit together in cities. They talk together in cities. They form groups. Even when they do not form groups they sit alone together in cities. In 2004 Stephanie Young was given her assignment: to convene a collection of writing by Bay Area poets. The long-anticipated results are in, all 432 pages of them. A precedent-breaking anthology, BAY POETICS goes to the outer limits of local and poetry, ranging as it does from Napa Valley to Santa Cruz and including poems, essays, lists, short fiction, walking tour reports, manifestoes and all points in between. An experiment in 21st century landscape portraiture you won't want to miss.

    Young argues that addressing these structural injustices requires a new model of responsibility, which she calls the social connection model. She develops this idea by clarifying the nature of structural injustice; developing the notion ofpolitical responsibility for injustice and how it differs from older ideas of blame and guilt; and finally how we can then use this model to describe our responsibilities to others no matter who we are and where we live.With a foreward by Martha C. Nussbaum, this last statement by a revered and highly influential thinker will be of great interest to political theorists and philosophers, ethicists, and feminist and political philosophers.

    In Witness, Amalia Mesa-Bains and bell hooks invite us to reexamine this politically popular binary and consider which differences are manufactured and which are real.In Witness, Mesa-Bains and hooks explore their own similarities and differences, sharing the ways their childhoods, families, and work have shaped their political activism, teaching, and artistic expression. Drawing on shared experiences of sexism, classism, and racism, hooks and Mesa-Bains show how people from divergent cultural backgrounds can work together for radical social change.While the black/Latino divide and the increasing cross-community political collaboration has been addressed in progressive newspapers and magazines, Witness, an inclusive call to reflect and act, is the first of its kind to look at these issues in depth. And Amalia Mesa-Bains, a pioneer scholar and producer of Chicana art, with bell hooks, one of the most acclaimed of African American theorists—prove an unparalleled match for the job.bell hooks is one of the leading public intellectuals of her generation. She has written extensively on the emotional impact of racism and sexism, particularly on black women, as well as the importance of political engagement with art and the media. In her recent work on love, relationships, and community, she shows how emotional health is a necessary component to effective resistance and activism.Amalia Mesa-Bains is an artist, curator, and writer who has initiated comprehensive exhibitions of Latino art, including Chicano Art: Resistance and Affirmation and Mi Alma, Mi Tierra, Mi Gente: Contemporary Chicana Art. Her artwork incorporates various aspects of Chicano/a history, culture, and folk traditions, exploring religion, ritual, and female rites of passage. She won a MacArthur Fellowship in 1992.

    Offering spare, tightly executed essays, this slim volume nonetheless succeeds in creating a spectacular, well-researched compendium of the transgender movement." -Law Library JournalOver the past three decades, the transgender movement has gained visibility and achieved significant victories. Discrimination has been prohibited in several states, dozens of municipalities, and more than two hundred private companies, while hate crime laws in eight states have been amended to include gender identity. Yet prejudice and violence against transgender people remain all too common. With analysis from legal and policy experts, activists and advocates, Transgender Rights assesses the movement’s achievements, challenges, and opportunities for future action. Examining crucial topics like family law, employment policies, public health, economics, and grassroots organizing, this groundbreaking book is an indispensable resource in the fight for the freedom and equality of those who cross gender boundaries. Moving beyond media representations to grapple with the real lives and issues of transgender people, Transgender Rights will launch a new moment for human rights activism in America. Contributors: Kylar W. Broadus, Judith Butler, Mauro Cabral, Dallas Denny, Taylor Flynn, Phyllis Randolph Frye, Julie A. Greenberg, Morgan Holmes, Bennett H. Klein, Jennifer L. Levi, Ruthann Robson, Nohemy Solórzano-Thompson, Dean Spade, Kendall Thomas, Paula Viturro, Willy Wilkinson. Paisley Currah is associate professor of political science at Brooklyn College, executive director of the Center for Lesbian and Gay Studies at the CUNY Graduate Center, and a founding board member of the Transgender Law and Policy Institute. Richard M. Juang cochairs the advisory board of the National Center for Transgender Equality (NCTE) in Washington, DC. He has taught at Oberlin College and Susquehanna University. He is the lead editor of NCTE's Responding to Hate Crimes: A Community Resource Manual and coeditor of Transgender Justice, which explores models of activism.Shannon Price Minter is legal director of the National Center for Lesbian Rights and a founding board member of the Transgender Law and Policy Institute.

    Albers drew on over forty years' work in a variety of media - woodcuts, sandblasted glass pictures and oil paintings - to create the 127 abstract images, which explore colour and form. This volume retains the layout of the original portfolios, with one, two or four images across two pages, and Albers' comments, including key passages from his own writings, are supplied in two fold-out sections.

    It is a literary tour de force, returning anew to challenge necessity itself, the most implacable of human certainties: you die in the end - and that's the end. For you, for me.

    "A paradox sets these disquieting and beautiful DISASTER SUITES into motion. They produce a music--'missing in the count now counts as one'--reaching for the disappearance of the very conditions that make it audible: war, so-called natural catastrophe, a 'public sphere where there is no / Public.' As in the songs of William Blake and the sci-fi novels of Octavia Butler, these Suites sing against their own beauty and their seemingly perpetual present--which is why they seem so strangely archaic and futuristic at once. In complex patterns of meter and rhyme, Disaster's lyric 'I' summons its own kind of 'counting' (prosody) against the physics of finance or exchange. Yet the music which results can only be heard--'the drowned and the bombed'--in between and against the other tracks that Halpern intricately lays down: the singing of capital, the burble of mass media, the daily noise of bodies who work, shit, fuck, and love. This stunning book has almost single-handedly made me love contemporary lyric poetry again"--Sianne Ngai.

    Approaching the topic from varying perspectives — exile, longing, belonging, diaspora, idealization — they show that “homeland” isn't just a physical place. It can also be an imagined community, a part of one's identity, or simply a wavering memory. It’s a world we create and re-create every day.Among the contributors are Etel Adnan, who describes her life as an exile from Beruit after choosing to leave a city at war. Agate Nesaule, who as a youngster left Latvia under Nazi and Soviet threat, writes of envying a young Latvian girl's life, rich in place, language, and music. Sarah McCormic echoes the experience of many “American mutts” who can claim so many heritages that they feel a connection to none.The writers in this collection beautifully capture the complicated notion of homeland and reflect the diversity of women's realities in the world.

    In the 12 essays and introduction that constitute Blue Studios, DuPlessis continues that task, examining the work of experimental poets and the innovative forms they have fashioned to challenge commonplace assumptions about gender and cultural authority. The essays in “Attitudes and Practices” deal with two questions: what a feminist reading of cultural texts involves, and the nature of the essay itself as a mode of knowing: how poetry can be discursive and how the essay can be poetic. The goal of “Marble Paper,” with its studies of William Wordsworth, Ezra Pound, and Charles Olson is to suggest terms for a “feminist history of poetry.” “Perspectives must be fashioned that displace and estrange the world,” Theodore Adorno wrote, and in the section "Urrealism" DuPlessis examines the work of poets from several schools (the Objectivists, the New York School, the surrealists) whose work embodies that displacement, among them George Oppen, Lorine Niedecker, H.D., and Barbara Guest. These writers’ radical deployment of line, sound, and structure, DuPlessis argues, demonstrate poetry’s power not as a purely literary, artistic, or aesthetic force but as a rhetorical form intricately tied to issues of power and ethics. And in "Migrated Into,” the author probes the ways these issues have informed her, as a poet and a critic; how the political has “migrated into” and suffused her own work; and how the practice of poetry can be an arousal to a deeper understanding of what we stand for.

    In The Matrixial Borderspace Ettinger works through Lacan's late works, the anti-Oedipal perspectives of Deleuze and Guattari, as well as object-relations theory to critique the phallocentrism of mainstream Lacanian theory and to rethink the masculine-feminine opposition.Edited and with an afterword by Brian Massumi

    These changes can be seen in every field of life. For instance, the way of supplying basic needs or the way how to make own life better, but also certain norms and values are quite different today. Instead of visiting a theatre in order to be entertained, people can watch TV or use the internet. If a man and a woman live together unmarried, hardly anybody will be shocked about that fact. But often certain attitudes are anchored in society and can hardly be changed. One example is the determination which individual role men and women are likely to play as members of a society and how their image appears in every culture. It is especially interesting to see how the media represent women, the so called -weaker sex-. The following pages respond with the representation of women through the years. Additionally, they deal with problems and consequences coming up because of the difference between men and women.

    Also, it is funny and of a pleasing form and light but increasing heft, perfect for spiriting away in one’s back pocket for an evening of street stenciling or shopdropping.This Questionably Diagrammed Edition features updated texts, an introduction and a postface by radical literarists Liz Mason and Mikki Halpin, and several medical illustrations of little sense and less value, by the author. Written and illustrated by Anne Elizabeth Moore.

    More than a decade in the makingand more than half a million words in length?this informative and entertaining encyclopedia contains substantive entries of up to two thousand words on those persons, events, organizations, and concepts of major importance to postwar American conservatism. Its contributors include iconic patriarchs of the conservative and libertarian movements, including Russell Kirk, M. E. Bradford, Gerhart Niemeyer, Stephen J. Tonsor, Peter Stanlis, and Murray Rothbard; celebrated scholars such as George H. Nash, Peter Augustine Lawler, Allan Carlson, Daniel J. Mahoney, Wilfred McClay, Elizabeth Fox-Genovese, George W. Carey, and Paul Gottfried; well-known authors, including George Weigel, Lee Edwards, Richard Brookhiser, and Gregory Wolfe; and influential movement activists and leaders such as M. Stanton Evans, Morton Blackwell, Leonard Liggio, and Llewellyn Rockwell. Ranging from abortion to Zoll, Donald Atwell, and written from viewpoints as various as those which have informed the postwar conservative movement itself, the encyclopedia's more than 600 entries will orient readers of all kinds to the people and ideas that have given shape to contemporary American conservatism. This long-awaited volume is not to be missed.

    Written over the past two decades, these twelve essays—some classic, some less known, some new—trace a powerful intellectual trajectory as Shohat rigorously teases out the consequences of a deep critique of Eurocentric epistemology, whether to rethink feminism through race, nationalism through ethnicity, or colonialism through sexuality.Shohat’s critical method boldly transcends disciplinary and geographical boundaries. She explores such issues as the relations between ethnic studies and area studies, the paradoxical repercussions for audio-visual media of the “graven images” taboo, the allegorization of race through the refiguring of Cleopatra, the allure of imperial popular culture, and the gender politics of medical technologies. She also examines the resistant poetics of exile and displacement; the staging of historical memory through the commemorations of the two 1492s, the anomalies of the “national” in Zionist discourse, the implications of the hyphen in the concept “Arab-Jew,” and the translation of the debates on orientalism and postcolonialism across geographies. Taboo Memories, Diasporic Voices not only illuminates many of the concerns that have animated the study of cultural politics over the past two decades; it also points toward new scholarly possibilities.

    But that will not make postmodernism go away.Can Christians learn from postmodern thinkers and their critique of modernism? Yes, says author Crystal L. Downing. Postmodernism should not be judged by some of the problematic practices carried out in its name.In a lively engagement with literature, philosophy and art, Downing introduces readers to what postmodernism is and where it came from, aiming to show how Christians can best understand, critique and even benefit from its insights.She draws on her own experiences as a graduate student and her careful research into this worldview's modernist and artistic origins, the challenges of foundationalism and poststructuralism, and the complexity of relativism.She ends with a challenge to Christians: that they not be postmodern in their attitudes towards postmodernism, but instead to "be in the world and not of it" and to extend grace where it is most needed.Downing believes that the challenges, questions and insights of postmodernism can contribute to a deeper and clearer grasp of our faith, as well as providing unique paradigms for sharing the truth of Christ.

    At last this major director, practitioner, and author of many books on community theatre speaks out about the subjects most important to him - the practical work he does with diverse communities, the effects of globalization, and the creative possibilities for all of us.

    Warner tells the unexpected and often disturbing story about shifts in thought about consciousness and the individual person, from the first public waxworks portraits at the end of the eighteenth century to stories of hauntings, possession, and loss of self in modern times. She probes the perceived distinctions between fantasy and deception, and uncovers a host of spirit forms--angels, ghosts, fairies, revenants, and zombies--that are still actively present in contemporary culture.

    Unnatural Voices analyzes in depth the creation, fragmentation, and reconstitution of experimental narrative voices that transcend familiar first- and third-person perspectives. Going beyond standard theories that are based in rhetoric or linguistics, this book focuses on what innovative authors actually do with narration. Richardson identifies the wide range of unusual narrators, acts of narration, and dramas with the identity of the speakers in late modern, avant-garde, and postmodern texts that have not previously been discussed in a sustained manner from a theoretical perspective. He draws attention to the more unusual practices of Conrad, Joyce, and Woolf as well as the work of later authors like Beckett and recent postmodernists. Unnatural Voices chronicles the transformation of the narrator figure and the function of narration over the course of the twentieth century and provides chapters on understudied modes such as second-person narration, "we" narration, and multiperson narration. It explores a number of distinctively postmodern strategies, such as unidentified interlocutors, erased events, the collapse of one voice into another, and the varieties of postmodern unreliability. It offers a new view of the relations between author, implied author, narrator, and audience and, more significantly, of the "unnatural" aspects of fictional narration. Finally, it offers a new model of narrative that can embrace the many non- and anti-realist practices discussed throughout the book. Brian Richardson is professor of English at the University of Maryland.

    Freddie's search for home leads him through Frog Land a strange place full of bizarre creatures all pointing him to the Bass Clef Monster who "loves frogs." Discover the dancing bees, a moonlit cocoon garden, the fire-breathing dragon, and dare to meet the Bass Clef Monster. As in the first book/CD, the lines and spaces represent a map of this eerie adventure and the sound effects and music bring it to life. This is the second adventure in the Freddie the Frog Books series. The first adventure story, Freddie the Frog and the Thump in the Night, introduces the reader to the treble clef. The CD includes an entertaining read-along version of the story along with sing-along songs.

    In the 1960s, before beginning his work in performance and video art, Acconci studied at the Iowa Writers Workshop and published poems in journals and chapbooks. Almost all of this work remains unknown; much of it appeared in the self-produced magazines of the Lower East Side's mimeo revolution, and many other pieces were never published. Language to Cover a Page collects these writings for the first time and not only shows Acconci to be an important experimental writer of the period, but demonstrates the continuity of his early writing with his later work in film, video, and performance.Language to Cover a Page documents a key moment in the unprecedented intersection of artists and poets in the late 1960s--as seen in the Dwan Gallery's series of Language shows (1967-1970) and in Acconci's own journal 0 to 9. Indeed, as Acconci moved from the poetry scene to the art world, his poetry became increasingly performative while his artwork was often structured and motivated by linguistic play.Acconci's early writing recalls the work of Samuel Beckett, the deadpan voice of the nouveau roman, and the jump cuts and fraught permutations of the nouvelle vague. Poems in Language to Cover a Page explore the materiality of language (language as matter and not ideas, as Robert Smithson put it), the physical space of the page, and the physicality of source texts (phonebooks, thesauruses, dictionaries). Other poems take the space of the page as an analogue to performance space or implicate the poem in a network of activity (as in his Dial-a-Poem pieces). Readers will find Acconci's inventive and accomplished poetry as edgy and provocative as anything published today.

    The book represents a daring mixture of Nancy's philosophical essays, writings about artworks, and artwork of his own. With theoretical rigor, Nancy elaborates on the intrinsic multiplicity of art as a concept of "making," and outlines the tensions inherent in the faire, the "making" that characterizes the very process of production and thereby the structure of poetry in all its forms. Nancy shows that this multiplication that belongs to the notion of art makes every single work communicate with every other, all material in the artwork appeal to some other material, and art the singular plural of a praxis of the finite imparting of an infinity which is actually there in every utterance. In the collection, Nancy engages with the work of, among others, François Martin, Maurice Blanchot, and On Kawara.

    1959) came to prominence in 1981 with her design for the Vietnam Veterans Memorial. Generously illustrated and beautifully designed, Systematic Landscapes traces her continued fascination with geologic phenomena and topography, integrating natural contours and materials into evocative landscape sculptures such as Character of a Hill Under Glass (2002) and 11 Minute Line (2004).As the book reveals, Lin’s earthworks and public sculptures have always developed alongside small-scale, exploratory sculptures and monumental temporary installations, such as Avalanche (1998), through which Lin evokes the physical processes that shape the earth. This important volume also introduces three major new installation works created for the "Systematic Landscapes" exhibition, along with a series of related drawings and reliefs demonstrating the expanding scope of Lin’s creative process. The largest of these installations, 2 x 4 Landscape, is composed from more than 45,000 sections of lumber placed on end that from a distance take on a pixel-like image of a hill, and close up create a form that evokes both mound and wave, earth and water.Systematic Landscapes is of interest to newcomers to Maya Lin's work as well as to longtime enthusiasts of her unique artistic creations and stunning design work.

    Glam rock was outrageous and overtly theatrical, and its unforgettable characters-adorned with flamboyant costumes and heavy makeup and accompanied by elaborately constructed sets-were personified by performers such as Marc Bolan, David Bowie, Bryan Ferry, and Suzi Quatro. A sea change in rock performance had occurred.Yet glam was as much about substance as style, and Performing Glam Rock delves into the many ways glam paved the way for new explorations of identity in terms of gender, sexuality, and performance. Philip Auslander positions glam historically and examines it as a set of performance strategies, exploring the ways in which glam rock-while celebrating the showmanship of 1950s rock and roll-began to undermine rock's adherence to the ideology of authenticity in the late 1960s. In this important study of a too-often-overlooked phenomenon, Auslander takes a fresh look at the genius of the glam movement and introduces glam to a new generation of performance enthusiasts and scholars alike.Philip Auslander is Professor in the School of Literature, Communication, and Culture at the Georgia Institute of Technology and author of numerous books, including Liveness: Performance in a Mediatized Culture and Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance. He is editor of the major reference work Performance: Critical Concepts and coeditor, with Carrie Sandahl, of Bodies in Commotion: Disability and Performance.

    Contains over 30 original theoretical, historical, and historiographic essays by renowned and emergent scholars. Covers the vibrancy of medieval art from both thematic and sub-disciplinary perspectives. Features an international and ambitious range - from reception, Gregory the Great, collecting, and pilgrimage art, to gender, patronage, the marginal, spolia, and manuscript illumination.

    His work stands apart from that of many of his contemporaries and resists easy summary. In these essays Kateb often admonishes himself, in Socratic fashion, to keep political argument as far as possible negative: to be willing to assert what we are not, and what we will not do, and to build modestly from there some account of what we are and what we ought to do.Drawing attention to the non-rational character of many motives that drive people to construct and maintain a political order, he urges greater vigilance in political life and cautions against “mistakes” not usually acknowledged as such. Patriotism is one such mistake, too often resulting in terrible brutality and injustices. He asks us to consider how commitments to ideals of religion, nation, race, ethnicity, manliness, and courage find themselves in the service of immoral ends, and he exhorts us to remember the dignity of the individual.The book is divided into three sections. In the first, Kateb discusses the expansion of state power (including such topics as surveillance) and the justifications for war recently made by American policy makers. The second section offers essays in moral psychology, and the third comprises fresh interpretations of major thinkers in the tradition of political thought, from Socrates to Arendt.

    And he does not hesitate to break the back of a word…. In order to arrive: where? At that nowhere that is here, there, and everywhere.”—Octavio PazA pairing of two of Henri Michaux’s most contemplative texts—Stroke by Stroke (Par des traits, 1984) and Grasp (Saisir, 1979)—written toward the end of his life. The author’s ink drawings accompany his poetic exploration of animals, insects, language, and human nature. Explosive, measured accounts of men and beasts.

    

    Ortner draws on her longstanding interest in theories of cultural practice to rethink key concepts of culture, agency, and subjectivity for the social sciences of the twenty-first century. The seven theoretical and interpretive essays in this volume each advocate reconfiguring, rather than abandoning, the concept of culture. Similarly, they all suggest that a theory which depends on the interested action of social beings—specifically practice theory, associated especially with the work of Pierre Bourdieu—requires a more developed notion of human agency and a richer conception of human subjectivity. Ortner shows how social theory must both build upon and move beyond classic practice theory in order to understand the contemporary world.Some of the essays reflect explicitly on theoretical concerns: the relationship between agency and power, the problematic quality of ethnographic studies of resistance, and the possibility of producing an anthropology of subjectivity. Others are ethnographic studies that apply Ortner’s theoretical framework. In these, she investigates aspects of social class, looking at the relationship between race and middle-class identity in the United States, the often invisible nature of class as a cultural identity and as an analytical category in social inquiry, and the role that public culture and media play in the creation of the class anxieties of Generation X. Written with Ortner’s characteristic lucidity, these essays constitute a major statement about the future of social theory from one of the leading anthropologists of our time.

    The Ideas in Things explores apparently inconsequential objects in popular Victorian texts to make contact with their fugitive meanings. Developing an innovative approach to analyzing nineteenth-century fiction, Elaine Freedgood here reconnects the things readers unwittingly ignore to the stories they tell. Building her case around objects from three well-known Victorian novels—the mahogany furniture in Charlotte Brontë’s Jane Eyre, the calico curtains in Elizabeth Gaskell’s Mary Barton, and “Negro head” tobacco in Charles Dickens’s Great Expectations—Freedgood argues that these things are connected to histories that the novels barely acknowledge, generating darker meanings outside the novels’ symbolic systems. A valuable contribution to the new field of object studies in the humanities, The Ideas in Things pushes readers’ thinking about things beyond established concepts of commodity and fetish.

    In Central Africa alone, more than three million people have died in wars fueled, at least in part, by internationally supported refugee populations. The recurring pattern of violent refugee crises prompts the following questions: Under what conditions do refugee crises lead to the spread of civil war across borders? How can refugee relief organizations respond when militants use humanitarian assistance as a tool of war? What government actions can prevent or reduce conflict?To understand the role of refugees in the spread of conflict, Sarah Kenyon Lischer systematically compares violent and nonviolent crises involving Afghan, Bosnian, and Rwandan refugees. Lischer argues against the conventional socioeconomic explanations for refugee-related violence--abysmal living conditions, proximity to the homeland, and the presence of large numbers of bored young men. Lischer instead focuses on the often-ignored political context of the refugee crisis. She suggests that three factors are crucial: the level of the refugees' political cohesion before exile, the ability and willingness of the host state to prevent military activity, and the contribution, by aid agencies and outside parties, of resources that exacerbate conflict.Lischer's political explanation leads to policy prescriptions that are sure to be controversial: using private security forces in refugee camps or closing certain camps altogether. With no end in sight to the brutal wars that create refugee crises, Dangerous Sanctuaries is vital reading for anyone concerned with how refugee flows affect the dynamics of conflicts around the world.

    In 2002, one of anthropology’s—and indeed today’s—most distinctive writers, Michael Taussig, visited Benjamin’s grave in Port Bou. The result is “Walter Benjamin’s Grave,” a moving essay about the cemetery, eyewitness accounts of Benjamin’s border travails, and the circumstances of his demise. It is the most recent of eight revelatory essays collected in this volume of the same name.“Looking over these essays written over the past decade,” writes Taussig, “I think what they share is a love of muted and defective storytelling as a form of analysis. Strange love indeed; love of the wound, love of the last gasp.” Although thematically these essays run the gamut—covering the monument and graveyard at Port Bou, discussions of peasant poetry in Colombia, a pact with the devil, the peculiarities of a shaman’s body, transgression, the disappearance of the sea, New York City cops, and the relationship between flowers and violence—each shares Taussig’s highly individual brand of storytelling, one that depends on a deep appreciation of objects and things as a way to retrieve even deeper philosophical and anthropological meanings. Whether he finds himself in Australia, Colombia, Manhattan, or Spain, in the midst of a book or a beach, whether talking to friends or staring at a monument, Taussig makes clear through these marvelous essays that materialist knowledge offers a crucial alternative to the increasingly abstract, globalized, homogenized, and digitized world we inhabit.Pursuing an adventure that is part ethnography, part autobiography, and part cultural criticism refracted through the object that is Walter Benjamin’s grave, Taussig, with this collection, provides his own literary memorial to the twentieth century’s greatest cultural critic.

    Architecture has been, and must continue to be, writes Alberto Perez-Gomez, built upon love. Modernity has rightly rejected past architectural excesses, but, Perez-Gomez argues, the materialistic and technological alternatives it proposes do not answer satisfactorily the complex desire that defines humanity. True architecture is concerned with far more than fashionable form, affordable homes, and sustainable development; it responds to a desire for an eloquent place to dwell -- one that lovingly provides a sense of order resonant with our dreams. In Built upon Love Perez-Gomez uncovers the relationship between love and architecture in order to find the points of contact between poetics and ethics -- between the architect's wish to design a beautiful world and architecture's imperative to provide a better place for society.Eros, as first imagined by the early lyric poets of classical Greece, is the invisible force at the root of our capacity to create and comprehend the poetic image. Perez-Gomez examines the nature of architectural form in the light of eros, seduction, and the tradition of the poetic image in Western architecture. He charts the ethical dimension of architecture, tracing the connections between philia -- the love of friends that entails mutual responsibility among equals -- and architectural program. He explores the position of architecture at the limits of language and discusses the analogical language of philia in modernist architectural theory. Finally, he uncovers connections between ethics and poetics, describing a contemporary practice of architecture under the sign of love, incorporating both eros and philia.

    In Our Fire Survives the Storm, Daniel Heath Justice traces the expression of Cherokee identity in that nation’s literary tradition. Through cycles of war and peace, resistance and assimilation, trauma and regeneration, Cherokees have long debated what it means to be Cherokee through protest writings, memoirs, fiction, and retellings of traditional stories. Justice employs the Chickamauga consciousness of resistance and Beloved Path of engagement—theoretical approaches that have emerged out of Cherokee social history—to interpret diverse texts composed in English, a language embraced by many as a tool of both access and defiance. Justice’s analysis ultimately locates the Cherokees as a people of many perspectives, many bloods, mingled into a collective sense of nationhood. Just as the oral traditions of the Cherokee people reflect the living realities and concerns of those who share them, Justice concludes, so too is their literary tradition a textual testament to Cherokee endurance and vitality. Daniel Heath Justice is assistant professor of aboriginal literatures at the University of Toronto.

    But increasingly, readers are finding his insights into politics, economics, sexuality, and performance revealing and timely. Focusing on Bataille's most extensive work, The Accursed Share, Shannon Winnubst and the contributors to this volume present contemporary interpretations that read Bataille in a new light. These essays situate Bataille in French and European intellectual traditions, bring forward key concepts for understanding the challenges posed by his important work, and draw out his philosophy. Established voices and younger scholars cover a range of topics and themes, including ethics, politics, economy, psychology, and performance so readers can think with and through Bataille. While focusing attention on Bataille and his provocative work, this book offers a sympathetic, yet critical, reappraisal and rehabilitation.Contributors are Alison Leigh Brown, Andrew Cutrofello, Zeynep Direk, Jesse Goldhammer, Dorothy Holland, Pierre Lamarche, Richard A. Lee, Jr., Alphonso Lingis, Ladelle McWhorter, Lucio A. Privitello, Allan Stoekl, Amy Wendling, and Shannon Winnubst.

    Synthetic Worlds offers fascinating new insights into the place of the material object and the significance of the natural, the organic, and the inorganic in Western aesthetics. Esther Leslie considers how radical innovations in chemistry confounded earlier alchemical and Romantic philosophies of science and nature while profoundly influencing the theories that developed in their wake. She also explores how advances in chemical engineering provided visual artists with new colors, surfaces, coatings, and textures, thus dramatically recasting the way painters approached their work. Ranging from Goethe to Hegel, Blake to the Bauhaus, Synthetic Worlds ultimately considers the astonishing affinities between chemistry and aesthetics more generally. As in science, progress in the arts is always assured, because the impulse to discover is as immutable and timeless as the drive to create.

    For Rey Chow, the world has, in the age of atomic bombs, become a world target, to be attacked once it is identified, or so global geopolitics, dominated by the United States since the end of the Second World War, seems repeatedly to confirm. How to articulate the problematics of knowledge production with this aggressive targeting of the world? Chow attempts such an articulation by probing the significance of the chronological proximity of area studies, poststructuralist theory, and comparative literature—fields of inquiry that have each exerted considerable influence but whose mutual implicatedness as postwar U.S. academic phenomena has seldom been theorized. Central to Chow’s discussions is a critique of the predicament of self-referentiality—the compulsive move to interiorize that, in her view, constitutes the collective frenzy of our age—in different contemporary epistemic registers, including the self-consciously avant-garde as well as the militaristic and culturally supremacist. Urging her readers to think beyond the inward-turning focus on EuroAmerica that tends to characterize even the most radical gestures of Western self-deconstruction, Chow envisions much broader intellectual premises for future transcultural work, with reading practices aimed at restoring words and things to their constitutive exteriority.

    This companion explores the social, political and economic forces that have made America what it is today. It shows how these contexts impact upon twentieth-century American literature, cinema and art. An international team of contributors examines the special contribution of African Americans and of immigrant communities to the variety and vibrancy of modern America. The essays range from art to politics, popular culture to sport, immigration and race to religion and war. Varied, extensive and challenging, this Companion is essential reading for students and teachers of American studies around the world. It is the most accessible and useful introduction available to an exciting range of topics in modern American culture.

    The volume explores key themes in historical archaeology including documentary archaeology, the writing of historical archaeology, colonialism, capitalism, industrial archaeology, maritime archaeology, cultural resource management and urban archaeology. Three special sections explore the distinctive contributions of material culture studies, landscape archaeology and the archaeology of buildings and the household. Drawing on case studies from North America, Europe, Australasia, Africa and around the world, the volume captures the breadth and diversity of contemporary historical archaeology, considers archaeology's relationship with history, cultural anthropology and other periods of archaeological study, and provides clear introductions to alternative conceptions of the field. This book is essential reading for anyone studying or researching the material remains of the recent past.

    This brief text is suitable for courses with coverage of gender and sexuality in sociology, psychology, women's and gender studies, and human development. The only book of its kind to address sexualities from a social perspective, Plante's analysis of the context of sexuality, sexual behaviors, and identities is both intelligent and readable. With contemporary topics, such as 'hooking up,' sexual fantasies, and bisexualities, along with examples of how to apply critical thinking, students are empowered to think outside their comfort zones and encouraged to explore the topic of sex in a new context. Employing useful pedagogical features like end-of-chapter questions and suggested projects, this is the ideal text to help students see that sex is not only personal but social and political as well.

    

    In A Voice and Nothing More Dolar goes beyond Derrida's idea of "phonocentrism" and revives and develops Lacan's claim that the voice is one of the paramount embodiments of the psychoanalytic object (objet a). Dolar proposes that, apart from the two commonly understood uses of the voice as a vehicle of meaning and as a source of aesthetic admiration, there is a third level of understanding: the voice as an object that can be seen as the lever of thought. He investigates the object voice on a number of different levels--the linguistics of the voice, the metaphysics of the voice, the ethics of the voice (with the voice of conscience), the paradoxical relation between the voice and the body, the politics of the voice--and he scrutinizes the uses of the voice in Freud and Kafka. With this foundational work, Dolar gives us a philosophically grounded theory of the voice as a Lacanian object-cause.

    Beautifully illustrated and written in a clear and concise style, it also includes brief biographies of leading architects, from Brunelleschi and Imhotep to Le Corbusier and Richard Rogers. The text is complimented by over 250 beautiful and meticulous line drawings, labeled cross-sections and diagrams. These include precise drawings of typical building features, making it easy for readers to identify particular period styles. The first edition of the Dictionary of Architecture received excellent reviews. Now it has been fully revised and expanded, bringing it completely up-to-date. New entries include definitions of landscape terms and biographies of modern architects. Each entry is followed by a mini-bibliography, with suggestions for further reading. It also contains over 50 new illustrations. This is an essential work of reference for anyone with an interest in architecture. With clear descriptions providing in-depth analysis, the second edition of A Dictionary of Architecture and Landscape Architecture is invaluable for students and professional architects, and provides a fascinating wealth of information for the general reader.

    Brooks argues that from the mid-nineteenth century to the early twentieth, black transatlantic activists, actors, singers, and other entertainers frequently transformed the alienating conditions of social and political marginalization into modes of self-actualization through performance. Brooks considers the work of African American, Anglo, and racially ambiguous performers in a range of popular entertainment, including racial melodrama, spectacular theatre, moving panorama exhibitions, Pan-Africanist musicals, Victorian magic shows, religious and secular song, spiritualism, and dance. She describes how these entertainers experimented with different ways of presenting their bodies in public—through dress, movement, and theatrical technologies—to defamiliarize the spectacle of “blackness” in the transatlantic imaginary.Brooks pieces together reviews, letters, playbills, fiction, and biography in order to reconstruct not only the contexts of African American performance but also the reception of the stagings of “bodily insurgency” which she examines. Throughout the book, she juxtaposes unlikely texts and entertainers in order to illuminate the complicated transatlantic cultural landscape in which black performers intervened. She places Adah Isaacs Menken, a star of spectacular theatre, next to Sojourner Truth, showing how both used similar strategies of physical gesture to complicate one-dimensional notions of race and gender. She also considers Henry Box Brown’s public re-enactments of his escape from slavery, the Pan-Africanist discourse of Bert Williams’s and George Walker’s musical In Dahomey (1902–04), and the relationship between gender politics, performance, and New Negro activism in the fiction of the novelist and playwright Pauline Hopkins and the postbellum stage work of the cakewalk dancer and choreographer Aida Overton Walker. Highlighting the integral connections between performance and the construction of racial identities, Brooks provides a nuanced understanding of the vitality, complexity, and influence of black performance in the United States and throughout the black Atlantic.

    The collection includes three essays on the Bible, as well as pieces devoted to Twelfth Night, Rembrandt's self-portraits, Tristram Shandy, Kafka's stories and aphorisms, Borges, Kierkegaard, and painter Andrez Jackowski. The title essay examines the relationship of the artists' works and their ideas, and the book concludes with personal meditations on memory, the Holocaust, Jewishness, and being a writer-teacher.

    Outstanding contributors include Pierre Macherey, Charles Wolfe, Alex Callinicos and Judith Revel

    Structured into three easy-to-use sections, this text book guides readers through all the major concepts, themes and issues that characterize Victorian literature; offers an overview of the historical and cultural context in which this literature was produced; and introduces readers to all of the significant critical and theoretical perspectives that underpin modern research into the period.

    It engages directly with the difficulty many students find intimidating, asking 'What is ''Literary Theory''?' and offering a clear, concise, accessible guide to the major theories and theorists, including: humanism; structuralism; poststructuralism; psychoanalytic approaches; feminist approaches; queer theory; ideology and discourse; new historicism; race and postcolonialism; postmodernism. The final chapter points to new directions in literary and cultural theory.

    Family historians beginning the search for their ancestors from this period run into a similar adventure, as research in the colonial period presents a number of exciting challenges that genealogists may not have experienced before. This book is the key to facing those challenges. This new book, Researching Your Colonial New England Ancestors, leads genealogists to a time when their forebears were under the rule of the English crown, blazing their way in that uncharted territory. Patricia Law Hatcher, FASG, provides a rich image of the world in which those ancestors lived and details the records they left behind. With this book in hand, family historians will be ready to embark on a journey of their own, into the unexplored lines of their colonial past.

    Clear and direct, often witty, this volume is a pleasure to read and represents the culmination of his work. It includes: 1. Drive and Instinct: distinctions, oppositions, supports and intertwinings 2. Sexuality and Attachment in Metapsychology 3. Dream and Communication: should chapter VII be rewritten? 4. Countercurrent 5. Starting from the Fundamental Anthropological Situation 6. Failures of Translation 7. Displacement and Condensation in Freud 8. Sexual Crime 9. Gender, Sex and the Sexual 10. Three Meanings of the Term Unconscious 11. For Psychoanalysis at the University 12. Intervention in a Debate 13. Levels of Proof 14. The Three Essays and the Theory of Seduction 15. Freud and Philosophy 16. In Debate with Freud 17. Psychoanalysis and Psychotherapy 18. Incest and Infantile Sexuality 19. Castration and Oedipus as Codes and Narrative Schemas

    The Primacy of Semiosis is concerned with the ontology of relations and semiosis, the action of signs. Drawing upon the work of Gilles Deleuze, John Deely, and John Poinsot, Paul Bains focuses on the claim that relations are 'external' to their terms, and seeks to give an ontological account of this purported externality of relations. Bains develops the proposition, first made in 1632 by John Poinsot (John of St. Thomas), that, ontologically, signs are relations whose whole being is in esse ad ('being-toward'). Furthermore, relations are found to be univocal in their being as relations. This univocity of being is antecedent to the division between 'ens rationis' and 'ens reale'. The ontology of relations Bains presents is thus neither mind-dependent nor mind-independent insofar as the rationale of the relation is concerned. The book includes chapters on Deleuze and Deely on relations, Jacob von Uexkull and Heidegger on Umwelten (self-worlds), Maturana and Varela on Autopoieis. It provides the vicarious causality, by way of the scholastic doctrine of the 'species', that is now being resuscitated by Graham Harman and the emerging school of 'object oriented ontology'. The Primacy of Semiosis provides a semiotic that subverts the opposition between realism and idealism; one in which what have been called 'nature' and 'culture' interpenetrate in an expanding collective of human and non-human. Bains' work promises to be a touchstone for semiotic discussion for years to come.

    The key to this resistance is the unconscious registration and repudiation (disavowal) of the reality of difference. The surprising generality of this resistance intersects with Nietzsche's, Heidegger's, and Derrida's understanding of how and why difference is in general the "unthought of metaphysics." All three see metaphysics engaged with a "registration and repudiation of difference," and all three rethink interpretation in relation to this question. The synthesis of these theories of interpretation and difference provides the philosophical foundations for a new thinking of how interpretation functions, and is a critical intersection of deconstruction and psychoanalysis.

    Drawing on insights from subaltern and postcolonial studies, Roberto M. Dainotto deconstructs imperialism not from the so-called periphery but from within Europe itself. He proposes a genealogy of Eurocentrism that accounts for the way modern theories of Europe have marginalized the continent’s own southern region, portraying countries including Greece, Italy, Spain, and Portugal as irrational, corrupt, and clan-based in comparison to the rational, civic-minded nations of northern Europe. Dainotto argues that beginning with Montesquieu’s The Spirit of Laws (1748), Europe not only defined itself against an “Oriental” other but also against elements within its own borders: its South. He locates the roots of Eurocentrism in this disavowal; internalizing the other made it possible to understand and explain Europe without reference to anything beyond its boundaries.Dainotto synthesizes a vast array of literary, philosophical, and historical works by authors from different parts of Europe. He scrutinizes theories that came to dominate thinking about the continent, including Montesquieu’s invention of Europe’s north-south divide, Hegel’s “two Europes,” and Madame de Staël’s idea of opposing European literatures: a modern one from the North, and a pre-modern one from the South. At the same time, Dainotto brings to light counter-narratives written from Europe’s margins, such as the Spanish Jesuit Juan Andrés’s suggestion that the origins of modern European culture were eastern rather than northern and the Italian Orientalist Michele Amari’s assertion that the South was the cradle of a social democracy brought to Europe via Islam.

    This brilliant and controversial intellectual invariably performs a high-wire act at the point where critical issues and methods intersect—or collide. She is deeply interested in the problems of cultural analysis across a range of disciplines. A Mieke Bal Reader brings together for the first time a representative collection of her work that distills her broad interests and areas of expertise. This Reader is organized into four parts, reflecting the fields that Bal has most profoundly influenced: literary study, interdisciplinary methodology, visual analysis, and postmodern theology. The essays include some of Bal’s most characteristic and provocative work, capturing her at the top of her form. “Narration and Focalization,” for example, provides the groundwork for Bal’s ideas on narrative, while “Reading Art?” clearly outlines her concept of reading images. “Religious Canon and Literary Identity” reenvisions Bal’s own work at the intersection of theology and cultural analysis, while “Enfolding Feminism” argues for a new feminist rallying cry that is not a position but a metaphor. More than a dozen other essays round out the four sections, each of which is interdisciplinary in its own right: the section devoted to literature, for instance, ranges widely over psychoanalysis, theology, photography, and even autobiography. A Mieke Bal Reader is the product of a capacious intellect and a sustained commitment to critical thinking. It will prove to be instructive, maddening,  and groundbreaking—in short, all the hallmarks of intellectual inquiry at its best.

    But scholarly investigation of the broad social relevance of friendship has been neglected. Rethinking Friendship describes the varied nature of personal relationships today, and also locates friendship in contemporary debates about individualization and the supposed "collapse of community." Exploring friendships with partners and family as well as "friends," the book reveals ways in which friends and friendlike ties are an important and unacknowledged source of social glue.Using a rigorous analysis of in-depth interviews, the authors develop a set of innovative concepts--friendship repertoires (the range of friendships people have); friendship modes (the way people make and maintain friendships over time); and patterns of suffusion (the extent to which boundaries between friends and family become blurred). These concepts form the basis of a typology of personal communities that vary in the roles played by friends, family, partners, and neighbors.Combining scholarly depth and rich description, this absorbing and accessible book will appeal to all those interested in informal social relationships, including students of methodology and policymakers. With its challenge to pessimistic commentators, Rethinking Friendship urges us to resist sweeping generalizations and to acknowledge the sheer diversity of social life today.

    This contribution to the burgeoning field of medical humanities contends that psychiatry's move away from a theory-based model (one favoring psychoanalysis and other talk therapies) to a more scientific model (based on new breakthroughs in neuroscience and pharmacology) has been detrimental to both the profession and its clients. This shift toward a science-based model includes the codification of the Diagnostic and Statistical Manual of Mental Disorders to the status of standard scientific reference, enabling mental-health practitioners to assign a tidy classification for any mental disturbance or deviation. Psychiatrist and cultural studies scholar Bradley Lewis argues for "postpsychiatry," a new psychiatric practice informed by the insights of poststructuralist theory.

    Two of his most influential works - 'The Way of Man' and 'Ten Rungs' - resonate to this day. They are published here in a single volume for the first time.

    It argues that the peasant condition is characterized by a struggle for autonomy that finds expression in the creation and development of a self-governed resource base and associated forms of sustainable development. In this respect the peasant mode of farming fundamentally differs from entrepreneurial and corporate ways of farming. The author demonstrates that the peasantries are far from waning. Instead, both industrialized and developing countries are witnessing complex and richly chequered processes of 're-peasantization', with peasants now numbering over a billion worldwide. The author's arguments are based on three longitudinal studies (in Peru, Italy and The Netherlands) that span 30 years and provide original and thought-provoking insights into rural and agrarian development processes. The book combines and integrates different bodies of literature: the rich traditions of peasant studies, development sociology, rural sociology, neo-institutional economics and the recently emerging debates on Empire.

    It focuses on the deployment of "identity" within ethnic-, women's-, disability-, and gay and lesbian studies in order to stimulate discussion about issues that are simultaneously theoretical and practical, ranging from ethics and epistemology to political theory and pedagogical practice. This collection of powerful essays by both well-known and emerging scholars offers original answers to questions concerning the analytical legitimacy of "identity" and "experience," and the relationships among cultural autonomy, moral universalism, and progressive politics.

    In Paper Families, Estelle T. Lau demonstrates how exclusion affected Chinese American communities and initiated the development of restrictive U.S. immigration policies and practices. Through the enforcement of the Exclusion Act and subsequent legislation, the U.S. immigration service developed new forms of record keeping and identification practices. Meanwhile, Chinese Americans took advantage of the system’s loophole: children of U.S. citizens were granted automatic eligibility for immigration. The result was an elaborate system of “paper families,” in which U.S. citizens of Chinese descent claimed fictive, or “paper,” children who could then use their kinship status as a basis for entry into the United States. This subterfuge necessitated the creation of “crib sheets” outlining genealogies and providing village maps and other information that could be used during immigration processing.Drawing on these documents as well as immigration case files, legislative materials, and transcripts of interviews and court proceedings, Lau reveals immigration as an interactive process. Chinese immigrants and their U.S. families were subject to regulation and surveillance, but they also manipulated and thwarted those regulations, forcing the U.S. government to adapt its practices and policies. Lau points out that the Exclusion Acts and the pseudo-familial structures that emerged in response have had lasting effects on Chinese American identity. She concludes with a look at exclusion’s legacy, including the Confession Program of the 1960s that coerced people into divulging the names of paper family members and efforts made by Chinese American communities to recover their lost family histories.

    Aside from his more directly theoretical texts, however, case-studies of theatrical naturalism, the Bloomsbury group, advertising, science fiction, and the Welsh novel are also included as illustrations of the method at work. Finally, Williams’s identity as an active socialist, rather than simply an academic, is captured by two unambiguously political pieces on the past, present and future of Marxism.

    The Handbook of Material Culture provides a critical survey of the theories, concepts, intellectual debates, substantive domains, and traditions of study characterizing the analysis of "things." This cutting-edge work examines the current state of material culture as well as how this field of study may be extended and developed in the future.

    Nowadays it continues intensive development and has fruitful connections with most other fields of mathematics as well as important applications in physics. This book gives an exposition of the foundations of modern measure theory and offers three levels of presentation: a standard university graduate course, an advanced study containing some complements to the basic course (the material of this level corresponds to a variety of special courses), and, finally, more specialized topics partly covered by more than 850 exercises. Volume 1 (Chapters 1-5) is devoted to the classical theory of measure and integral. Whereas the first volume presents the ideas that go back mainly to Lebesgue, the second volume (Chapters 6-10) is to a large extent the result of the later development up to the recent years. The central subjects in Volume 2 are: transformations of measures, conditional measures, and weak convergence of measures. These three topics are closely interwoven and form the heart of modern measure theory. The organization of the book does not require systematic reading from beginning to end; in particular, almost all sections in the supplements are independent of each other and are directly linked only to specific sections of the main part. The target readership includes graduate students interested in deeper knowledge of measure theory, instructors of courses in measure and integration theory, and researchers in all fields of mathematics. The book may serve as a source for many advanced courses or as a reference.

    In doing so he makes a valuable contribution to one of the most active and fruitful areas in contemporary scholarship on Kant.

    It starts from the definition of Gaussian measures in Hilbert spaces, concepts such as the Cameron-Martin formula, Brownian motion and Wiener integral are introduced in a simple way. These concepts are then used to illustrate basic stochastic dynamical systems and Markov semi-groups, paying attention to their long-time behavior.

    This argument holds that the intricacy and complexity of the natural world points to a divine designer and that nature is to be read as God's book. A literary and philosophical study of this idea, The Book of God revisits the familiar equation of romanticism, modernity, and secularization. Colin Jager eschews classic formulations of the thesis that societies secularize as they modernize, arguing instead that secularization is complexly interwoven with modernity rather than simply opposed to it. This revised concept of secularization reveals how arguments about God's designing intentions structure a romantic modernity that is neither progressive nor entirely secular.Tracing this understanding through diverse texts, ranging from philosophy and theology to poetry and fiction, Jager argues that the idea of design functions as both source and interlocutor for many of romanticism's most famous topics. The book concludes with current controversies over intelligent design and evolution, arguing for a historically informed approach to modernity's attempts to divide the religious from the secular.The book's chronological and thematic range will make it of interest to students of religion and of intellectual and cultural history, as well as literary scholars.

    It also explores the way apartheid functioned in its day-to-day operations as a geographical system of control, exerting its power through such spatial mechanisms as residential segregation, bantustans, passes, and prisons. Throughout the study, Rita Barnard provides historical context by highlighting key events such as colonial occupation, the creation of black townships, migration, forced removals, the emergence of informal settlements, and the gradual integration of white cities. Apartheid and Beyond is both an innovative account of an important body of politically inflected literature and an imaginative reflection on the socio-spatial aspects of the transition from apartheid to democracy.

    Exposing the limitations of such an understanding, this book offers a very different approach: here, modernity is the site that poses the question of how we are to continue when every attempt to think and understand the present is marked by the necessity of an interruption. Through a reading of Walter Benjamin's writings—particularly on interruption, fashion, and Jugendstil (or Art Nouveau)—Andrew Benjamin in this work offers a sustained meditation on the role of interruption in modernity. His book departs from and elaborates an important but overlooked dimension of Benjamin's discourse: the question of style as it bears upon temporality and spatiality. Extending this meditation in exciting and unexpected ways--toward problems of cosmopolitanism, immigration, and the graphically pornographic, for instance—the author is able to translate Benjamin's multifaceted formulations on style, the dialectical image, awakening, temporality, and spatiality into lucid and highly intelligent stylistics underscoring the philosophical notions of Schein and Erscheining, the interruptions of modernity, and the politics of sameness and otherness. Nothing less than a rethinking of the conditions of Western art as it relates to politics, architecture, and time, this study of Walter Benjamin's modernity in temporal and spatial terms is a provocative and original work of philosophy in its own right—a work that suggests that the time has come to revise existing paradigms.

    He portrayed the ordeal of the vulnerable, defencelessly exposed body and at the centre of this volume are about 60 of Bacon's disturbing yet captivating studies of the human figure, encompassing works from the late 1940s until his death."

    Sifting through the lives and writings of modern and classical poets, Fatemeh Keshavarz provides a systematic examination of the array of religious impulses in recent Persian verse. Viewing poetry as the site of the emergence of the self and the sacred, she confirms that sanctification is not static in its forms but continuously in flux and that the poetic modes used to articulate the sanctified are equally fluid.Keshevarz begins by introducing the core concepts that define and detach religion and secularity in contemporary Iranian society. By thoroughly discussing the nature of classical Persian poetry she makes clear that expressions of the sacred in verse have been open to negotiation and change even in the premodern period. However, in Iran's modern poetic landscape Keshavarz uncovers many new patterns of expressing the sacred. In individual chapters on the writings of Forugh Farrokhzad (1935-1967), Sohrab Sepehri (1928-1981), and Ahmad Shamlu (1925-2000), she discusses the paradigmatic ways prominent poets of the twentieth century have related to the sacred in a nation forging its vision of modernity.While most scholars perceive current Iranian culture to be sharply divided between literalist conservatives and secular progressives, Keshavarz identifies provocative shades of spiritual expression less rigidly defined and hence neglected by the established critical tradition. Bringing such expression to the fore of scholarly attention, her study invites a more nuanced appreciation of the crosscurrents of religion and literature in recent Middle Eastern culture.

    Political leaders and opinion-makers throughout the world claim that the sovereign state is a barrier to efficient global governance and the protection of human rights.Two central claims are advanced in this book. First, that the sovereign state is being undermined not by the pressures of globalization but by a diminished sense of political possibility. Second, it demonstrates that those who deny the relevance of sovereignty have failed to offer superior alternatives to the sovereign state. Sovereignty remains the best institution to establish clear lines of political authority and accountability, preserving the idea that people shape collectively their own destiny. The authors claim that this positive idea of sovereignty as self-determination remains integral to politics both at the domestic and international levels.Politics Without Sovereignty will be of great interest to students and scholars of political science, international relations, security studies, international law, development and European studies.

    The book concentrates on Spivak's engagement, in theory and practice, with deconstruction, Marxism, feminism, and issues of postcoloniality and globalization, and makes clear the extent of her impact in the fields of postcolonial and literary theory. Gayatri Chakravorty Spivak: Live Theory is a key resource for anyone studying this pioneering thinker.

    Among their witty and stimulating installations and outdoor projects was "Camouflaged History," a house painted in a U.S. Army-designed camouflage pattern using 72 commercial paint colors included in the municipally-approved "authentic colors" of historic Charleston, South Carolina. The commercial name of each paint, commemorating an aspect of the city's history, is also painted on the house, revealing and illuminating the lingering Civil War-era past of the region. Like the Earthwork pioneers, Ericson and Ziegler took the whole country as their working space; but rather than impose a conspicuous work of art upon a site or situation, they devised projects that altered sites subtly, creating a patchwork of poetic narratives and histories to be excavated. The windows rescued from the old National Licorice factory in Philadelphia in the title piece America Starts Here--which takes its name from the slogan used to promote Pennsylvania tourism during the 1980s -- are hung according to the location of the original windows in the factory; the cracks in the glass echo the famous cracks in two of Philadelphia's tourist attractions, the Liberty Bell and Marcel Duchamp's "The Large Glass."Kate Ericson's death from cancer in 1995 at age 39 made the body of Ericson and Ziegler's collaborative work finite. America Starts Here offers a generous selection of Ericson and Ziegler's work, with much of it reproduced in color, and provides a critical analysis of the artists' still under-appreciated position in the history of twentieth-century art. It accompanies the first retrospective exhibition of Ericson and Ziegler's work.Copublished with The Frances Young Tang Teaching Museum at Skidmore College and List Visual Arts Center at MIT.

    The essays, preceded by a contextualizing introduction, are organized under four topical heads: textual historiography, positive analytic methods using nontextual physical evidence, ethnohistorical synthesis, and the ethical-contextual issues of ethnohistory. Part 1 focuses on issues such as concerns over the editing of ethnohistorical materials, the limitations of direct historical analogy in archaeology, and the use of archaeological evidence to deconstruct colonialist history when real events are obscured by the bias of historical accounts. Part 2 explores relations across space and time, covering such topics as interpreting change in Choctaw settlement patterns through analysis of narrative evidence for the early French period, GIS applications to historical maps, and the reflection of sociopolitical structure in Choctaw personal names and their historical contexts. Part 3 focuses on communication between Native peoples and European colonists and includes essays on the Mobilian lingua franca in colonial Louisiana, British negotiations with the Choctaw Confederacy in 1765, and eighteenth-century French commissions to Native chiefs. The final part discusses the ethics of ethnohistorical research.Drawing on years of ethnohistorical research in the southeastern United States, Patricia Galloway has produced an essential reader on the practice of ethnohistory.

    Using archival material and works of Bunyan, Shaftesbury, Goldsmith, Smart, and Wordsworth, Branch shows that the rise of spontaneity was intimately connected to the forces of commerce and science at the dawn of the Enlightenment. By focusing on the language in which spontaneity was defended and on its psychological repercussions, Rituals of Spontaneity challenges previous understanding of secularization and demonstrates the deep, often troubling connections between religion and secularism in modernity.

    Love him or hate him, there is no denying he is a "master of the spoken word," as Gabriel Garc�a M�rquez has described him.Emerging in the 1960s as a leading voice in support of Third World anticolonial struggles and continuing to play a role in the antiglobalization movement of today, Fidel Castro remains an articulate and penetrating--if controversial--political thinker and leader, who has outlasted ten hostile US presidents.His direct, forthright approach, his incredible grasp of diverse economic, historical, and cultural topics, and his idealism stand in stark contrast against the spin and superficiality of most political leaders.Covering five decades of Fidel's speeches, this selection begins with his famous courtroom defense ("History will Absolve Me"), and also includes his speech on learning of Che Guevara's death in Bolivia, his analysis of the collapse of the Soviet Union, and his response to the 9/11 terrorist attacks. With his declining health and the emergence of new leaders such as Hugo Ch�vez in Venezuela and Evo Morales in Bolivia, this book sheds light not just on Castro's mighty role in Latin America's immediate past, but also on his legacy for the future.The Fidel Castro Reader includes a chronology of the Cuban Revolution, an extensive glossary and index as well as 24 pages of photos. As the first anthology of Castro's speeches to be published in English since the 1960s, this is an essential resource for both scholars and general readers."Fidel's devotion to the word is almost magical." --Gabriel Garc�a M�rquez"Fidel is the leader of one of the smallest countries in the world, but he has helped to shape the destinies of millions of people across the globe." --Angela Davis"Fidel Castro is a man of the masses... The Cuban revolution has been a source of inspiration to all freedom-loving people." --Nelson Mandela"Fidel's is a singing and dancing intellect." --Alice Walker"[The editors] have done an admirable, even heroic, job of editing and excerpting this reader [which] serves a purpose for both historians and politicos." -- Foreword Magazine

    These artists reject both the traditional form and content of comic books (hardcover, full-colour 'albums' of humour or adventure stories, generally geared towards children), seeking instead to instil the medium with experimental and avant-garde tendencies commonly associated with the visual arts. Unpopular Culture addresses the transformation of the status of the comic book in Europe since 1990.Increasingly, comic book artists seek to render a traditionally degraded aspect of popular culture un-popular, transforming it through the adoption of values borrowed from the field of 'high art.' The first English-language book to explore these issues, Unpopular Culture represents a challenge to received histories of art and popular culture that downplay significant historical anomalies in favour of more conventional narratives. In tracing the efforts of a large number of artists to disrupt the hegemony of high culture, Bart Beaty raises important questions about cultural value and its place as an important structuring element in contemporary social processes.

    Since then, the feminist jurisprudence movement has taken root, with courts and legislatures addressing matters of sex and gender inequality, and law schools employing feminist and post-feminist theory in the classroom. In this important book, Ann Scales, a founding contributor to the movement, reflects on the past, present, and future of feminist jurisprudence.Legal Feminism situates the feminist jurisprudence movement within the larger context of Western law and philosophy, focusing first on common problem areas of legal theory and decision-making, and then explaining how feminist jurisprudence can analyze and address these issues in new ways. Throughout, Scales draws on legal disputes to show how feminist theory works in the courtroom and in other real-life arenas.Part personal memoir, part primer, and part treatise, Legal Feminism is a de-jargonized, lively account of how feminist jurisprudence can solve traditional legal conflicts, and why it matters to anyone committed to building an equitable and progressive society.

    This has important implications and applications for issues ranging from natural selection to animal behavior and human psychology, leaving biosemiotics at the cutting edge of the research on the fundamentals of life.Drawing on an international expertise, the book details the history and study of biosemiotics, and provides a state-of-the-art summary of the current work in this new field. And, with relevance to a wide range of disciplines - from linguistics and semiotics to evolutionary phenomena and the philosophy of biology - the book provides an important text for both students and established researchers, while marking a vital step in the evolution of a new biological paradigm.

    Physical objects—such as one’s own body—situate and define us; yet at the same time they are fundamentally indifferent to us. The melancholy of this rift is a rich source of inspiration for artists. Peter Schwenger deftly weaves together philosophical and psychoanalytical theory with artistic practice. Concerned in part with the act of collecting, The Tears of Things is itself a collection of exemplary art objects—literary and cultural attempts to control and possess things—including paintings by Georgia O’Keeffe and René Magritte; sculpture by Louise Bourgeois and Marcel Duchamp; Joseph Cornell’s boxes; Edward Gorey’s graphic art; fiction by Virginia Woolf, Georges Perec, and Louise Erdrich; the hallucinatory encyclopedias of Jorge Luis Borges and Luigi Serafini; and the corpse photographs of Joel Peter Witkin. However, these representations of objects perpetually fall short of our aspirations. Schwenger examines what is left over—debris and waste—and asks what art can make of these. What emerges is not an art that reassembles but one that questions what it means to assemble in the first place. Contained in this catalog of waste is that ultimate still life, the cadaver, where the subject-object dichotomy receives its final ironic reconciliation. Peter Schwenger is professor of English at Mount St. Vincent University in Halifax, Nova Scotia. He is the author of Fantasm and Fiction: On Textual Envisioning, Letter Bomb: Nuclear Holocaust and the Exploding Word, and Phallic Critiques: Masculinity and Twentieth-Century Literature.

     The Guardian A sharp-shooting lone-ranger from the post-Marxist left. New York TimesThe most important French thinker of the past twenty years. J. G. Ballard Theory is never so fine as when it takes the form of a fiction or a fable, writes Baudrillard in Cool Memories V - the latest in a series of aphoristic journals that covers the period 2000-2004. During these years Baudrillard re-emerged strongly in the international arena with his trenchant and controversial essay Spirit of Terrorism, developed his work as a photographer and developed cancer. As his attack on the inanities of hyperreality has grown more radical, Baudrillard has come to display an ever more marked penchant for the aphoristic style he has so long admired in such writers as Canetti, Lichtenberg and Nietzsche. 'Aphorizein', he writes, from which we get the word 'aphorism', means to retreat to such a distance that a horizon of thought is formed which never again closes on itself. Cool Memories are carnets, notebooks, but these are notes for keeping the horizon of thought open within a daunting sphere of ideas that is no less than a jungle, a nature red in tooth and claw. Mentally and affectively, he writes, we have remained hunters. At every moment, in thought and writing, there is a prey and a predator. And survival is a miracle.Jean Baudrillard was born in Reims in 1929 and now lives in Paris. From 1966 to1987 he taught sociology at the University of Paris X (Nanterre). Among his works translated into English are Simulations and Simulacra, Fatal Strategies, Seduction, America, Cool Memories I- IV, The Illusion of the End and The Spirit of Terrorism

    Since the 1960s numerous writers, artists, philosophers, and social theorists have tried to home in on the patterns and rhythms of our daily activities. This book provides a detailed mapof this territory, linking the pioneering work of such key figures as Georges Perec and Michel de Certeau, to currents in Surrealism, ethnography, fiction, film, and photography.

    Drawing on published natural histories, manuscript correspondence, garden plans, travelogues, watercolors, and drawings, The Science of Describing reconstructs the evolution of this discipline of description through four generations of naturalists. In the late fifteenth and early sixteenth centuries, naturalists focused on understanding ancient and medieval descriptions of the natural world, but by the mid-sixteenth century naturalists turned toward distinguishing and cataloguing new plant and animal species. To do so, they developed new techniques of observing and recording, created botanical gardens and herbaria, and exchanged correspondence and specimens within an international community. By the early seventeenth century, naturalists began the daunting task of sorting through the wealth of information they had accumulated, putting a new emphasis on taxonomy and classification. Illustrated with woodcuts, engravings, and photographs, The Science of Describing is the first broad interpretation of Renaissance natural history in more than a generation and will appeal widely to an interdisciplinary audience.

    Etymologically, the host is the master, but this identity is established through expropriation and loss the best host is the one who gives the most, ultimately relinquishing what defines him as master.In The Hostess, Tracy McNulty asks, What are the implications for personhood of sharing a person a wife or daughter as an act of hospitality? In many traditions, the hostess is viewed not as a subject but as the master s property. A foreign presence that both sustains and undercuts him, the hostess embodies the interplay of self and other within the host s own identity.Here McNulty combines critical readings of the Bible and Pierre Klossowski s trilogy The Laws of Hospitality with analyses of exogamous marital exchange, theological works from the Talmud to Aquinas, the writings of Kant and Nietzsche, and the theory of femininity in the work of Freud and Lacan. Ultimately, she contends, hospitality involves the boundary between the proper and the improper, affecting the subject as well as interpersonal relations.Tracy McNulty is assistant professor of romance studies at Cornell University."

    It bridges the gap between the traditional "cultures" of science and the humanities by constituting an area of interaction that some have called a "third culture." By asking questions about three disciplines rather than about just two, as is customary in research, this inquiry breaks new ground and resists easy categorization. It seeks to answer the following questions: What impact has the remapping of reality in scientific terms since the Copernican Revolution through thermodynamics, relativity theory, and quantum mechanics had on the way writers and thinkers conceptualized the place of human culture within the total economy of existence? What influence, on the other hand, have writers and philosophers had on the doing of science and on scientific paradigms of the world? Thirdly, where does humankind fit into the total picture with its uniquely moral nature? In other words, rather than privileging one discipline over another, this study seeks to uncover a common ground for science, ethics, and literary creativity.Throughout this inquiry certain nodal points emerge to bond the argument cogently together and create new meaning. These anchor points are the notion of movement inherent in all forms of existence, the changing concepts of evil in the altered spaces of reality, and the creative impulse critical to the literary work of art as well as to the expanding universe. This ambitious undertaking is unified through its use of phenomena typical of chaos and complexity theory as so many leitmotifs. While they first emerged to explain natural phenomena at the quantum and cosmic levels, chaos and complexity are equally apt for explaining moral and aesthetic events. Hence, the title "Remapping Reality" extends to the reconfigurations of the three main spheres of human interaction: the physical, the ethical, and the aesthetic or creative.

    David Armitage brings together an interdisciplinary and international team of authors to consider the impact of this scholarship on the study of early modern British history, English literature, and political theory. Leading historians survey the impact of the history of political thought on the 'new' histories of Britain and Ireland; eminent literary scholars offer novel critical methods attentive to literary form, genre, and language; and distinguished political theorists treat the relationship of history and theory in studies of rights and privacy. The outstanding examples of critical practice collected here will encourage the emergence of fresh research on the historical, critical, and theoretical study of the English-speaking world in the period around 1500-1800. This volume celebrates the contribution of the Folger Institute to British studies over many years.

    This problem is relevant in various areas of fundamental and applied physics. Significant progress in the understanding of such systems has been made recently. These books present the mathematical theories involved in the modeling of such phenomena. They describe physically relevant models, develop their mathematical analysis and derive their physical implications.

    Taking on the question of how African diaspora cultures practice remembrance, she reveals the ways in which these artists restage the confrontations between modernity and tradition.Gonzalez Mandri considers the work of the poet and cultural critic Nancy Morejon, the poet Excilia Saldana, the filmmaker Gloria Rolando, and the artists Maria Magdalena Campos-Pons and Belkis Ayon. In their cultural representations these women conflate the artistic, the historical, and the personal to produce a transformative image of the black woman as a forger of Cuban culture. They achieve this in several ways: by redefining autobiography as a creative expression for the convergence of the domestic and the national; by countering the eroticized image of the mulatta in favor of a mythical conception of the female body as a site for the engraving of cultural and national conflicts and resolutions; and by valorizing certain aesthetic and religious traditions in relation to a postmodern artistic sensibilityPlacing these artists in their historical context, Gonzalez Mandri shows how their accomplishments were consistently silenced in official Cuban history and culture and explores the strategies through which culturally censored memories survived--and continue to survive--in a Caribbean country purported to have integrated its Hispanic and African peoples and heritages into a Cuban identity. The picture that finally emerges is one not only of exceptional artistic achievement but also of successful redefinitions of concepts of race, gender, and nation in the face of almost insurmountable cultural odds.

    David Mumford We seek to bridge some critical gaps between various ?elds of mathematics by studying the interplay between the continuous volume and the discrete v- ume of polytopes. Examples of polytopes in three dimensions include crystals, boxes, tetrahedra, and any convex object whose faces are all ?at. It is amusing to see how many problems in combinatorics, number theory, and many other mathematical areas can be recast in the language of polytopes that exist in some Euclidean space. Conversely, the versatile structure of polytopes gives us number-theoretic and combinatorial information that ?ows naturally from their geometry. Fig. 0. 1. Continuous and discrete volume. The discrete volume of a body P can be described intuitively as the number of grid points that lie inside P, given a ?xed grid in Euclidean space. The continuous volume of P has the usual intuitive meaning of volume that we attach to everyday objects we see in the real world. VIII Preface Indeed, the di?erence between the two realizations of volume can be thought of in physical terms as follows. On the one hand, the quant- level grid imposed by the molecular structure of reality gives us a discrete notion of space and hence discrete volume. On the other hand, the N- tonian notion of continuous space gives us the continuous volume.

    It contains the fundamental results of the theory such as the Hille-Yoshida generation theorem, the bounded perturbation theorem, and the Trotter-Kato approximation theorem. It also treats the spectral theory of semigroups and its consequences for the qualitative behavior. The book is intended for students and researchers who want to become acquainted with the concept of semigroups in order to work with it in fields like partial and functional differential equations. Exercises are provided at the end of the chapters.

    In addition to in-depth analyses of Walter Benjamin's conception of critique—and in particular the relation of critique to ethics, as well as alternative models of criticism (such as Heidegger's notion of "Auseinandersetzung," and Derridean deconstruction)—this book contains essays on the notion of theory from the Greeks and the early German Romantics to the contemporary use of this notion in literary studies. The last part of the book investigates the different ways of understanding philosophical thinking that are found in contemporary French thought, examining works of Foucault, Deleuze, Lyotard, and Derrida.

    Works of modern literature are commonly theorized as symptomatic responses to the trauma of history. In a climate that tends to privilege crisis over critique, Debarati Sanyal argues that it is urgent to rethink literary experience in terms that recall its contestatory potential. Examining Baudelaire's poems afresh, she shifts the focus of critical attention toward an account of modernism as an active engagement with violence, specifically the violence of history in nineteenth-century France.Sanyal analyzes a literary current that uses the traditional hallmarks of modernism—irony, intertextuality, self-reflexivity, and formalism—to challenge the historical violence of modernity. Baudelaire and the committed ironists writing in his wake teach us how to read and resist the violence of history, and thereby to challenge the melancholy tenor of our contemporary "wound culture." In a series of provocative readings, Sanyal presents Baudelaire's poetry as an aesthetic form that contests historical violence through rhetorical strategies of complicity, counterviolence, and critique. The book develops a new account of Baudelaire's significance as a modernist by dislodging him both from his traditional status as a practitioner of "art for art's sake" and from his more recent incarnation as the poet of trauma.Following her extended analysis of Baudelaire's poetry, Sanyal in later chapters considers a number of authors influenced by his strategies—including Rachilde, Virginie Despentes, Albert Camus, and Jean-Paul Sartre—to examine the relevance of their interventions for our current climate of trauma and terror. The result is a study that underscores how Baudelaire's legacy continues to energize literary engagements with the violence of modernity.