It is a compilation of episodes approaching racism as a psychological reality.Everyday racism, argues Grada Kilomba, is experienced as a violent shock which suddenly places the Black subject in a colonial scene – depriving one’s link with society. Unexpectedly, the past comes to coincide with the present and the present is experienced as if one were in that agonizing past, as the title Plantation Memories announces.Linking postcolonial theory, psychoanalysis and poetic narrative, she provides a new and inspiring interpretation of everyday racism, memory, trauma and decolonization in the form of short stories.From the question “Where do you come from?” to the N-Word or Hair politics, the book is essential to anyone studying African studies, postcolonialism, critical whiteness and psychoanalysis.Grada Kilomba is a writer and psychologist, lecturing Frantz Fanon, Colonialism, Psychoanalysis and Decolonization at the Free University of Berlin. She is the Co-Editor of the book Mythen, Masken, Subjekte

    For nearly forty years, David Harvey has written and lectured on Capital, becoming one of the world’s most foremost Marx scholars.Based on his recent lectures, this current volume aims to bring this depth of learning to a broader audience, guiding first-time readers through a fascinating and deeply rewarding text. A Companion to Marx’s Capital offers fresh, original and sometimes critical interpretations of a book that changed the course of history and, as Harvey intimates, may do so again.David Harvey’s video lecture course can be found here: davidharvey.org/reading-capital/

    In July of 1991, he launched Cartoon Books in Columbus, Ohio, to publish his black-and-white comic strip Bone. A tale of three marshmallowy creatures named Bone, adrift in a world of humans, monsters and fantasy creatures, Bone has since been translated into 15 languages and won Smith countless awards. Bone and Beyond is the first volume to offer an overview of Smith's work. Published in conjunction with the Wexner Center and Cartoon Research Library's 2008 exhibition, this catalogue presents work featured in the show, including examples of Smith's original drawings for Bone, plus the more recent Shazam and Rasl, a forthcoming time travel story. Also featured are selected works by cartoonists who have influenced Smith, such as George Herriman, Charles Schulz and Walt Kelly, and essays by comic book and fantasy author Neil Gaiman, comic book artist and scholar Scott McCloud and Wexner Center film/video curator David Filipi, the exhibition's co-curator. Cartoon Research Library curator Lucy Shelton Caswell, the exhibition's other co-curator, provides an introduction.

    Preciado shows the ways in which the synthesis of hormones since the 1950s has fundamentally changed how gender and sexual identity are formulated, and how the pharmaceutical and pornography industries are in the business of creating desire. This riveting continuation of Michel Foucault's The History of Sexuality also includes Preciado's diaristic account of his own use of testosterone every day for one year, and its mesmerizing impact on his body as well as his imagination.

    Through the study of this notion of truth-telling, of speaking out freely, Foucault re-examines Greek citizenship, showing how the courage of the truth forms the forgotten ethical basis of Athenian democracy. The figure of the philosopher king, the condemnation of writing, and Socrates' rejection of political involvement are some of the many topics of ancient philosophy revisited here.

    On January 13th 2013, two days after his death, Anonymous hacked MIT's website and posted a copy of this manifesto, along with a message which can be read in full at: http://techcrunch.com/2013/01/13/anon..."You were the best of us; may you yet bring out the best in us.-Anonymous, Jan 13, 2013."This manifesto is openly available across the internet, including at the official URL where it has been posted in numerous languages.

    Kerry Ann Rockquemore and Tracey Laszloffy go beyond standard professional resources to serve up practical advice for black faculty intent on playing and winning the tenure game.Addressing head-on how power and the thorny politics of race converge in the academy, The Black Academic s Guide is full of invaluable tips and hard-earned wisdom. It is an essential handbook that will help black faculty survive and thrive in academia without losing their voices, or their integrity.

    Clear, cogent, compelling analyses of the tension between the 'social model' of disability and the material details of impairment; of identity politics and unstable identities; of capability rights and human interdependence; of disability and law, disability as masquerade, disability and sexuality, disability and democracy---they're all here, in beautifully crafted and intellectually startling essays. Disability Theory is a field-defining book: and if you're curious about what 'disability' has to do with 'theory,' it's just the book you've been waiting for, too."---Michael Bérubé, Pennsylvania State University "Disability Theory is magisterially written, thoroughly researched, and polemically powerful. It will be controversial in a number of areas and will probably ruffle feathers both in disability studies as well as in realms of cultural theory. And that's all to the good."---Michael Davidson, University of California, San Diego"Not only is Disability Theory a groundbreaking contribution to disability studies, it is also a bold, ambitious and much needed revision to a number of adjacent and overlapping fields including cultural studies, literary theory, queer theory, and critical race studies. Siebers has written a powerful manifesto that calls theory to account and forces readers to think beyond our comfort zones."---Helen Deutsch, University of California, Los AngelesIntelligent, provocative, and challenging, Disability Theory revolutionizes the terrain of theory by providing indisputable evidence of the value and utility that a disability studies perspective can bring to key critical and cultural questions. Tobin Siebers persuasively argues that disability studies transfigures basic assumptions about identity, ideology, language, politics, social oppression, and the body. At the same time, he advances the emerging field of disability studies by putting its core issues into contact with signal thinkers in cultural studies, literary theory, queer theory, gender studies, and critical race theory.

    With The Beast and the Sovereign, Volume 1, the University of Chicago Press inaugurates an ambitious series, edited by Geoffrey Bennington and Peggy Kamuf, translating these important works into English.   The Beast and the Sovereign, Volume 1 launches the series with Derrida’s exploration of the persistent association of bestiality or animality with sovereignty. In this seminar from 2001–2002, Derrida continues his deconstruction of the traditional determinations of the human. The beast and the sovereign are connected, he contends, because neither animals nor kings are subject to the law—the sovereign stands above it, while the beast falls outside the law from below. He then traces this association through an astonishing array of texts, including La Fontaine’s fable “The Wolf and the Lamb,” Hobbes’s biblical sea monster in Leviathan, D. H. Lawrence’s poem “Snake,” Machiavelli’s Prince with its elaborate comparison of princes and foxes, a historical account of Louis XIV attending an elephant autopsy, and Rousseau’s evocation of werewolves in The Social Contract.   Deleuze, Lacan, and Agamben also come into critical play as Derrida focuses in on questions of force, right, justice, and philosophical interpretations of the limits between man and animal.

    "Provocative."--Publishers Weekly.Collection: Religion and Postmodernism Series

    More accurately, Jared Sexton argues in Amalgamation Schemes, multiculturalism displaces both by evoking long-standing tenets of antiblackness and prescriptions for normative sexuality. In this timely and penetrating analysis, Sexton pursues a critique of contemporary multiracialism, from the splintered political initiatives of the multiracial movement to the academic field of multiracial studies, to the melodramatic media declarations about “the browning of America.” He contests the rationales of colorblindness and multiracial exceptionalism and the promotion of a repackaged family values platform in order to demonstrate that the true target of multiracialism is the singularity of blackness as a social identity, a political organizing principle, and an object of desire. From this vantage, Sexton interrogates the trivialization of sexual violence under chattel slavery and the convoluted relationship between racial and sexual politics in the new multiracial consciousness. An original and challenging intervention, Amalgamation Schemes posits that multiracialism stems from the conservative and reactionary forces determined to undo the gains of the modern civil rights movement and dismantle radical black and feminist politics. Jared Sexton is assistant professor of African American studies and film and media studies at the University of California, Irvine.

    political sphere as an affective space of attachment and identification. In this book, Berlant chronicles the origins and conventions of the first mass-cultural “intimate public” in the United States, a “women’s culture” distinguished by a view that women inevitably have something in common and are in need of a conversation that feels intimate and revelatory. As Berlant explains, “women’s” books, films, and television shows enact a fantasy that a woman’s life is not just her own, but an experience understood by other women, no matter how dissimilar they are. The commodified genres of intimacy, such as “chick lit,” circulate among strangers, enabling insider self-help talk to flourish in an intimate public. Sentimentality and complaint are central to this commercial convention of critique; their relation to the political realm is ambivalent, as politics seems both to threaten sentimental values and to provide certain opportunities for their extension. Pairing literary criticism and historical analysis, Berlant explores the territory of this intimate public sphere through close readings of U.S. women’s literary works and their stage and film adaptations. Her interpretation of Uncle Tom’s Cabin and its literary descendants reaches from Harriet Beecher Stowe to Toni Morrison’s Beloved, touching on Shirley Temple, James Baldwin, and The Bridges of Madison County along the way. Berlant illuminates different permutations of the women’s intimate public through her readings of Edna Ferber’s Show Boat; Fannie Hurst’s Imitation of Life; Olive Higgins Prouty’s feminist melodrama Now, Voyager; Dorothy Parker’s poetry, prose, and Academy Award–winning screenplay for A Star Is Born; the Fay Weldon novel and Roseanne Barr film The Life and Loves of a She-Devil; and the queer, avant-garde film Showboat 1988–The Remake. The Female Complaint is a major contribution from a leading Americanist.

    Born Charles Edouard Jeanneret in La Chaux-de-Fonds, Switzerland, the self-named Le Corbusier was the creator of some of the most important and impressive buildings of the past century - Villa Savoye at Poissy, the Chapel of Notre Dame du Haut at Ronchamp, the Parliament Building in Chandigarh, India. He was also an accomplished painter, sculptor, furniture designer, urbanist and author. His work and social theories continue to be a dominant force in the world of architecture and design, while his elegant round black eyeglasses are still a signature look for architects around the world.Organized chronologically and drawing on an array of archival material, including sketches, photographs and correspondences, Le Corbusier Le Grand depicts not only the vast and varied output of Le Corbusier, but also the major events, people and forces that shaped the life of an artist who continues to fascinate those in and outside the architectural world.

    This book focuses on the generally neglected and often overshadowed philosophical core of Žižek’s work—an essential component in any true appreciation of this unique thinker’s accomplishment. His central concern, Žižek has proclaimed, is to use psychoanalysis (especially the teachings of Jacques Lacan) to redeploy the insights of late-modern German philosophy, in particular, the thought of Kant, Schelling, and Hegel.  By taking this avowal seriously, Adrian Johnston finally clarifies the philosophical project underlying Žižek’s efforts. His book charts the interlinked ontology and theory of subjectivity constructed by Žižek at the intersection of German idealism and Lacanian theory.  Johnston also uses Žižek’s combination of philosophy and psychoanalysis to address two perennial philosophical problems: the relationship of mind and body, and the nature of human freedom. By bringing together the past two centuries of European philosophy, psychoanalytic metapsychology, and cutting-edge work in the natural sciences, Johnston develops a transcendental materialist theory of subjectivity—in short, an account of how more-than-material forms of subjectivity can emerge from a corporeal being. His work shows how an engagement with Žižek’s philosophy can produce compelling answers to today’s most vexing and urgent questions as inherited from the history of ideas.

    Iton offers an original portrait of the relationship between popular culture and institutionalized politics tracing the connections between artists such as Paul Robeson, Lorraine Hansberry, Richard Pryor, Bob Marley, and Erykah Badu and those individuals working in the protest, electoral, and policy making arenas. With an emphasis on questions of class, gender and sexuality-and diaspora and coloniality-the author also illustrates how creative artists destabilize modern notions of the proper location of politics, and politics itself.Ranging from theater to film, and comedy to literature and contemporary music, In Search of the Black Fantastic is an engaging and sophisticated examination of how black popular culture has challenged our understandings of the aesthetic and its relationship to politics.

    She approaches art as a form of erotic expression connecting sensory richness with primal desire, and in doing so, finds that the meaning of art comes from the intensities and sensations it inspires, not just its intention and aesthetic.By regarding our most cultured human accomplishments as the result of the excessive, nonfunctional forces of sexual attraction and seduction, Grosz encourages us to see art as a kind of bodily enhancement or mode of sensation enabling living bodies to experience and transform the universe. Art can be understood as a way for bodies to augment themselves and their capacity for perception and affection-a way to grow and evolve through sensation. Through this framework, which knits together the theories of Charles Darwin, Henri Bergson, Gilles Deleuze, F�lix Guattari, and Jakob von Uexk�ll, we are able to grasp art's deep animal lineage.Grosz argues that art is not tied to the predictable and known but to new futures not contained in the present. Its animal affiliations ensure that art is intensely political and charged with the creation of new worlds and new forms of living. According to Grosz, art is the way in which life experiments with materiality, or nature, in order to bring about change.

    Advancing his reflection on many issues, such as sexual difference, architecture, negative theology, politics, war, nationalism, and religion, Volume II also carries on Derrida's engagement with a number of key thinkers and writers: De Certeau, Heidegger, Kant, Lacoue-Labarthe, Mandela, Rosenszweig, and Shakespeare, among others. Included in this volume are new or revised translations of seminal essays (for example, "Geschlecht I: Sexual Difference, Ontological Difference," "Geschlecht II: Heidegger's Hand," "How to Avoid Speaking: Denials," and "Interpretations at War: Kant, the Jew, the German").

    Lars Muhl was for many years a successful pop star who studied the world’s religions and esoteric knowledge between gigs and recording sessions.  When a nervous-system illness sidelined him in the mid-1990s, he turned in desperation to a spiritual healer who was able to get him back on his feet after a single phone call. Intrigued by this mysterious man, Muhl traveled to southern France to become his apprentice. Together, Muhl and the healer, who is known in the book simply as “The Seer,” embark on an adventure that is part history lesson, part Jedi-style initiation. “My work with The Seer began on Montségur, the holiest site of the Cathars, the medieval French religious sect that was persecuted by the Roman Catholic Church,” notes Muhl.” It was the middle of summer and the hike up the mountain is pretty strenuous. At the same time that The Seer was testing my physical endurance, he was breaking down my emotional resistance. He taught me how to let go of the burdens from my past.”  Towards the end of his apprenticeship, after years of searching for Montségur’s secret cave, Muhl finally stumbles upon it. Inside he finds himself in the presence of “O,” the Messenger of Light; the source of all things; the symbol of ecstatic union. O tells Muhl, “Everything mankind longs for is, and has always been, within his reach. If he would only acknowledge this there wouldn’t be anything else to look for. When this happens mankind will step out of his self-made prison and into reality.”  The O Manuscript is not another book about positive thinking. Throughout his initiation, Muhl was forced to confront his dark side, the shadows that kept him from true health and wellness. “This is my journey,” says Muhl. “Every word of it is true and really happened to me, but it is also meant to be a kind of allegory. The lessons I learned are universal.” Praise for The O Manuscript:“I recommend this amazing story to anyone seeking the path to enlightenment.” —Al Jardine, The Beach Boys  “Lars Muhl tells an extraordinary tale in an extraordinary way…It is a story that, for too long, has been cyring out to be told.” —Henry Lincoln, co-author of The Holy Blood and the Holy Grail

    Using the Augustinian experience of confessio, Jean-Luc Marion develops a model of selfhood that examines this experience in light of the whole of the Augustinian corpus. Towards this end, Marion engages with noteworthy modern and postmodern analyses of Augustine's most "experiential" work, including the critical commentaries of Jacques Derrida, Martin Heidegger, and Ludwig Wittgenstein. Marion ultimately concludes that Augustine has preceded postmodernity in exploring an excess of the self over and beyond itself, and in using this alterity of the self to itself, as a driving force for creative relations with God, the world, and others. This reading establishes striking connections between accounts of selfhood across the fields of contemporary philosophy, literary studies, and Augustine's early Christianity.

    Wisdom & Metaphor is a stunning work that will engage a broad range of readers.

    Throughout the book, critical analysis is applied to unexamined assumptions in the areas of metaphysics and ethics in order to address long-standing disputes. The basic beliefs of western naturalism, eastern idealism, Greek dualism, post-modern anti-realism, and classical theism are incisively analyzed by reason for their coherence of meaning. Those who have questions about knowledge and certainty, faith and reason, the existence of God and the problem of evil, will find critical insight throughout this study in its use of presuppositional thinking.

    These lectures focus on developing the concepts critical to the introductory section of that book. They show Adorno as an embattled philosopher defining his own methodology among the prevailing trends of the time.

    servicemen. More than 100,000 women married GIs and moved to the United States. Haunting the Korean Diaspora explores the repressed history of emotional and physical violence between the United States and Korea and the unexamined reverberations of sexual relationships between Korean women and American soldiers.

    And today, modernism amounts to a form of complicity with colonialism and Eurocentrism. Let us bet on a modernity which, far from absurdly duplicating that of the last century, would be specific to our epoch and would echo its own problematics: an altermodernity whose issues and features this book seeks to sketch out."In his most recent essay, Nicolas Bourriaud claims that the time is ripe to reconstruct the modern for the specific context in which we are living. If modernism was a return to the origin of art or of society, to their purification with the aim of rediscovering their essence, then our own century's modernity will be invented, precisely, in opposition to all radicalism, dismissing both the bad solution of re-enrooting in identities as well as the standardization of imaginations decreed by economic globalization.To be radicant: it means setting one's roots in motion, staging them in heterogeneous contexts and formats, denying them any value as origins, translating ideas, transcoding images, transplanting behaviors, exchanging rather than imposing. The author extends radicant thought to modes of cultural production, consumption and use. Looking at the world through the prism of art, he sketches a "world art criticism" in which works are in dialogue with the context in which they are produced."And if twenty-first-century culture was invented with those works that set themselves the task of effacing their origin in favor of a multitude of simultaneous or successive enrootings? This process of obliteration is part of the condition of the wanderer, a central figure of our precarious era, who insistently is emerging at the heart of contemporary artistic creation. This figure is accompanied by a domain of forms and by an ethical mode: translation, whose modalities and cardinal role in contemporary culture this book seeks to enumerate."

    The dialectic, the concept of the evolution of an idea through internal contradiction and conflict, transformed two centuries of Western philosophy. To Hegel, who dominated nineteenth-century thought, it was a metaphysical system. In the works of Marx, the dialectic became a tool for materialist historical analysis, a theoretical maneuver that his critics derided and his descendants on the Left have wrestled with ever since. Jameson brings a theoretical scrutiny to bear on the questions that have arisen in the history of this philosophical tradition, contextualizing the debate with essays on commodification and globalization, and with reference to the work of Rousseau, Fichte, Heidegger, Sartre, Derrida, and Lacan. Through rigorous, erudite examination, Valences of the Dialectic charts a movement toward the innovation of a “spatial” dialectic, culminating in a remarkable meditation on globalization, through a study of Paul Ricoeur. Jameson presents a new synthesis of thought that revitalizes dialectical thinking for the twenty-first century.

    Questioning how design can improve daily lives, editors Bryan Bell and Katie Wakeford map an emerging geography of architectural activism--or -public-interest architecture---that might function akin to public-interest law or medicine by expanding architecture's all too often elite client base. With 30 essays by practicing architects and designers, urban and community planners, historians, landscape architects, environmental designers and members of other fields, this volume presents recent work from around the world that illustrates the ways in which design can address issues of social justice.

    Now an architectural professional and educator, Mitnick finds himself thinking and writing theoretically about moments like these, when architecture makes itself felt, immediately and palpably. Balanced precariously betweenpractice and theory, Mitnick refuses to put contemplation over experiencearchitectural thinking over making. Unconvinced by those who proclaim the death of theory, Mitnick maintains that architectural discourse need not disappear entirely; it need only change shape and break free from the tired, post-structuralist narratives with which it has become associated in the past couple of decades.Artificial Light suggests an alternative type of critical theory consisting of personal and fictitious anecdotes, real and fake photographs, and mini-essays that addresses prevalent themes in architecture such as immediacy, affect, abstraction, atmosphere, realness, and banality. With a narrative style reminiscent of other unconventional writers on design such as Paul Shepheard, Roger Connah, and Rebecca Solnit, Artificial Light is the beautifully written and visually engaging debut of a dynamic new voice in the world of architectural criticism.

    This art shows a recognition of ordinary dignity or the accidentally miraculous, an engagement with a new kind of anthropology, an immersion in the pleasures of popular culture, or a meditation on what happens when nothing happens. The celebration of the everyday has oppositional and dissident overtones, offering a voice to the silenced and proposing possibilities for change. This collection of writings by artists, theorists, and critics assembles for the first time a comprehensive anthology on the everyday in the world of contemporary art.Artists surveyed includeChantal Akerman, Francis Alÿs, Vladimir Arkhipov, Ian Breakwell, Stanley Brouwn, Sophie Calle, Marcel Duchamp, Fischli & Weiss, Nan Goldin, Dan Graham, Mona Hatoum, Susan Hiller, Ilya and Emilia Kabakov, Mary Kelly, Lettrist International, Jonas Mekas, Annette Messager, Aleksandra Mir, Roman Ond�k, Yoko Ono, Gabriel Orozco, Martha Rosler, Allen Ruppersberg, Daniel Spoerri, Wolfgang Tillmans, Mierle Laderman Ukeles, Andy Warhol, Richard Wentworth, Stephen Willats.Writers includePaul Auster, Maurice Blanchot, Geoff Dyer, Hal Foster, Suzy Gablik, Ben Highmore, Henri Lefebvre, Lucy R. Lippard, Michel Maffesoli, Ivone Margulies, Helen Molesworth, Nikos Papastergiadis, Georges Perec, John Roberts, David Ross, Nicholas Serota, Michael Sheringham, Alison and Peter Smithson, Abigail Solomon-Godeau, Jeff Wall, Jonathan Watkins.

    It is so totally fresh, unexpected and hitherto un-thought-of that it will probably take a long time before evolutionary anthropologists and psychologists begin to take it on board; but it will make an impact, of that there is no doubt. It will be, it must be, taken very seriously in any discussion of human origins.'Colin Groves - Professor of Biological Anthropology at the School of Archaeology & Anthropology, Australian National University and author of several books including A Theory Of Human And Primate Evolution and Bones, Stones and MoleculesLeft in the Dark expounds the most radical reinterpretation of existing evidence from the disciplines of evolution, ecology, neurology, psychology, anthropology and other academic fields, whilst also placing the ancient ‘Ages of Mankind’ mythology and related traditions within a scientific context. These universal traditions were once the only version of history we had, they describe the onset and progression of a neurodegenerative condition that really has left us in the dark. Often considered no more than the imaginings of a primitive mind and easy to dismiss as mere myths, they are in fact a more accurate natural history of humankind than modern science has thus far recognised. The book outlines the origin and nature of a condition that eventually left us virtually blind to its existence. Evidence is cited that supports such a scenario. A means of definitively testing its validity is proposed and most importantly what can be done to treat the condition and prevent its occurrence. While this may seem a challenging prospect it promises amongst other things the restoration of phenomenal abilities, exceptional immune function and most importantly a greatly enhanced state of mind and well being only rarely glimpsed by a tiny minority.For more information visit www.leftinthedark.org.uk

    This book focuses on the dynamic processes that create languages and give them their structure and variance. It outlines a theory of language that addresses the nature of grammar, taking into account its variance and gradience, and seeks explanation in terms of the recurrent processes that operate in language use. The evidence is based on the study of large corpora of spoken and written language, what we know about how languages change, as well as the results of experiments with language users. The result is an integrated theory of language use and language change which has implications for cognitive processing and language evolution.

    Articles by renowned international scholars offer readers a unique overview of the key concepts of cultural memory studies. The handbook not only documents current research in an unprecedented way; it also serves as a forum for bringing together approaches from areas as varied as sociology, political sciences, history, theology, literary studies, media studies, philosophy, psychology, and neurosciences."Cultural memory studies" - as defined in this handbook - came into being at the beginning of the 20th century, with the works of Maurice Halbwachs on m'moire collective. In the course of the last two decades this area of research has witnessed a veritable boom in various countries and disciplines. As a consequence, the study of the relation of "culture" and "memory" has diversified into a wide range of approaches. This handbook is based on a broad understanding of "cultural memory" as the interplay of present and past in sociocultural contexts. It presents concepts for the study of individual remembering in a social context, group and family memory, national memory, the various media of memory, and finally the host of emerging transnational lieux de m'moire such as 9/11.

    It must, she insists, be understood in its inseparability from the many catastrophes of recent history. She argues that photography is a particular set of relations between individuals and the powers that govern them and, at the same time, a form of relations among equals that constrains that power. Anyone, even a stateless person, who addresses others through photographs or occupies the position of a photograph's addressee, is or can become a member of the citizenry of photography.The crucial arguments of the book concern two groups that have been rendered invisible by their state of exception: the Palestinian noncitizens of Israel and women in Western societies. Azoulay's leading question is: Under what legal, political, or cultural conditions does it become possible to see and show disaster that befalls those with flawed citizenship in a state of exception? The Civil Contract of Photography is an essential work for anyone seeking to understand the disasters of recent history and the consequences of how they and their victims are represented.

    Cheryl Suzack situates feminist theories within Native culture with an eye to applying them to subjugated groups across Indian Country; Christopher B. Teuton organizes Native literary criticism into three modes based on community awareness; Sean Teuton opens up new sites for literary performance inside prisons with Native inmates; Robert Warrior wants literary analysis to consider the challenges of eroticism; Craig S. Womack introduces the book by historicizing book-length Native-authored criticism published between 1986 and 1997, and he concludes the volume with an essay on theorizing experience.Reasoning Together proposes nothing less than a paradigm shift in American Indian literary criticism, closing the gap between theory and activism by situating Native literature in real-life experiences and tribal histories. It is an accessible collection that will suit a wide range of courses—and will educate and energize anyone engaged in criticism of Native literature.

    He dispels the nimbus of unintelligibility surrounding Heidegger's thought, a nimbus that Heidegger himself helped create and that has tended to confine serious Heidegger scholarship to closed circles. This is not a work about the "exisistentialist" Heidegger, the "Nazi" Heidegger, the "gnostic" Heidegger, or the "mystic" Heidegger. Nor is it a "diluted" Heidegger for beginners. "Rephrasing Heidegger" interprets the philosopher on his own terms, covering all the main aspects of "Being and Time," and is particularly interesting for its detailed analysis of the structure and contents of this epoch-making philosophical work."Rephrasing Heidegger" includes a unique glossary of technical terms which recur frequently throughout "Being and Time" whose translation is problematic or uncertain. It also includes a German-English lexicon which catalogues the translations of Heidegger's terms in the most important English translations of Being and Time.This is the first detailed commentary in English by a Heidegger specialist trained at Heidegger's own university by the world-renowned Heidegger scholar Prof. F.-W. von Herrman, the editor of the most important volumes of Heidegger's collected works in German.

    With that "Westphalian" picture of political space assumed by default, the scope of justice was rarely subject to open dispute. Today, however, human-rights activists and international feminists join critics of structural adjustment and the World Trade Organization in challenging the view that justice can only be a domestic relation among fellow citizens. Targeting injustices that cut across borders, they are making the scale of justice an object of explicit struggle.Inspired by these efforts, Nancy Fraser asks: What is the proper frame for theorizing justice? Faced with a plurality of competing scales, how do we know which one is truly just? In exploring these questions, Fraser revises her widely discussed theory of redistribution and recognition. She introduces a third, "political" dimension of justice--representation--and elaborates a new, reflexive type of critical theory that foregrounds injustices of "misframing." Engaging with thinkers such as J�rgen Habermas, John Rawls, Michel Foucault, and Hannah Arendt, she envisions a "postwestphalian" mapping of political space that accommodates transnational solidarity, transborder publicity, and democratic frame-setting, as well as emancipatory projects that cross borders. The result is a sustained reflection on who should count with respect to what in a globalizing world.

    In response, both artists and thinkers have sought to transform the spectator into an active agent and the spectacle into a communal performance.In this follow-up to the acclaimed The Future of the Image, Rancière takes a radically different approach to this attempted emancipation. First asking exactly what we mean by political art or the politics of art, he goes on to look at what the tradition of critical art, and the desire to insert art into life, has achieved. Has the militant critique of the consumption of images and commodities become, ironically, a sad affirmation of its omnipotence?

    His influence extended as far as the United States, where he played an active role in the Industrial Workers of the World (the Wobblies), to Russia, where they guided Lenin's thoughts on imperialism and colonialism. Connolly was executed by the British Government for his role in the 1916 Easter Rising in Dublin.

    Walker's art continues, in other words, to pose awkward questions straightforwardly. Her imagery derives from the visual language of the antebellum South and the tradition of the minstrel show, which she directs to more disquieting ends. Where her source material parodied African-American culture with a terrifyingly casual jocularity--permitting white Americans to vicariously transgress their own taboos by depicting social chaos and unbridled sexuality--Walker applies that jocularity to her depictions of violence against African-Americans, lending them a hollow, almost slapstick character that is very much at odds with their original function. This latest book features work from a new series that addresses, among other themes, the atrocities committed against former slaves after the Emancipation Proclamation of 1863 and the Reconstruction program implemented by Congress between 1866 and 1877. These narratives are elaborated into or against geometric scenarios more abstract and compacted than previous sequences by Walker, and with a more extensive use of color.

    His theory stresses the human need for self-esteem, and shows how it influences political behavior at every level of social aggregation. Lebow develops ideal-type worlds associated with four motives: appetite, spirit, reason and fear, and demonstrates how each generates a different logic concerning cooperation, conflict and risk-taking. Expanding and documenting the utility of his theory in a series of historical case studies, ranging from classical Greece to the war in Iraq, he presents a novel explanation for the rise of the state and the causes of war, and offers a reformulation of prospect theory. This is a novel theory of politics by one of the world's leading scholars of international relations.

    For too long, Euro-American discourse styles, emphasizing elite male privilege and conceptual linearity, have drowned out democratic and woman-centered Native approaches. Even when myopic western linearity is understood to be at work, analysis of Native American history, society, and culture has still been consistently placed in male custody. The recovery of women’s traditions is the overarching theme in this collection of essays that helps reframe Native issues as properly gendered.  Paula Gunn Allen looks at Indian lifeways through the many stitches of Indian clothes and the many steps of their powwow fancy dances. Lee Maracle calls for reconstitution of traditional social structures, based on Native American ways of knowing. Kay Givens McGowan identifies the exact sites where female power was weakened through the imposition of European culture, so that we might more effectively strengthen precisely those sites. Finally, Barbara Alice Mann examines how communication between Natives who have federal recognition and those who do not, as well as between Natives east and west of the Mississippi, became dysfunctional, and outlines how to reestablish good relations for the benefit of all.

    Philosophy's relationship to comedy, Zupančič writes, is not exactly a simple story (and indeed includes some elements of comedy). It could begin with the lost book of Aristotle's Poetics, which discussed comedy and laughter (and was made famous by Umberto Eco's The Name of the Rose). But Zupančič draws on a whole range of philosophers and exemplars of comedy, from Aristophanes, Moliere, Hegel, Freud, and Lacan to George W. Bush and Borat. She distinguishes incisively between comedy and ideologically imposed, "naturalized" cheerfulness. Real, subversive comedy thrives on the short circuits that establish an immediate connection between heterogeneous orders. Zupančič examines the mechanisms and processes by which comedy lets the odd one in.

    Tactical Biopolitics suggests that the political challenges at the intersection of life, science, and art are best addressed through a combination of artistic intervention, critical theorizing, and reflective practices. Transcending disciplinary boundaries, contributions to this volume focus on the political significance of recent advances in the biological sciences and explore the possibility of public participation in scientific discourse, drawing on research and practice in art, biology, critical theory, anthropology, and cultural studies. After framing the subject in terms of both biology and art, Tactical Biopolitics discusses such topics as race and genetics (with contributions from leading biologists Richard Lewontin and Richard Levins); feminist bioscience; the politics of scientific expertise; bioart and the public sphere (with an essay by artist Claire Pentecost); activism and public health (with an essay by Treatment Action Group co-founder Mark Harrington); biosecurity after 9/11 (with essays by artists' collective Critical Art Ensemble and anthropologist Paul Rabinow); and human-animal interaction (with a framing essay by cultural theorist Donna Haraway).ContributorsGaymon Bennett, Larry Carbone, Karen Cardozo, Gary Cass, Beatriz da Costa, Oron Catts, Gabriella Coleman, Critical Art Ensemble, Gwen D'Arcangelis, Troy Duster, Donna Haraway, Mark Harrington, Jens Hauser, Kathy High, Fatimah Jackson, Gwyneth Jones, Jonathan King, Richard Levins, Richard Lewontin, Rachel Mayeri, Sherie McDonald, Claire Pentecost, Kavita Philip, Paul Rabinow, Banu Subramanian, subRosa, Abha Sur, Samir Sur, Jacqueline Stevens, Eugene Thacker, Paul Vanouse, Ionat Zurr

    Žižek's recent work includes extended treatments of key Christian thinkers from Paul, Pascal, and Kierkegaard to G. K. Chesterton and C. S. Lewis, while Christology and other theological themes have provided crucial points of reference. Žižek has even said that "to become a true dialectical materialist, one should go through the Christian experience."But Žižek's work on Christianity often overwhelms students of theology. To be sure, Žižek's style of argumentation is unusual and his concepts are complex. But the more basic problem is that his work on Christianity is a further development of a broader intellectual project established in many volumes produced in the course of the 1990s. This book will bring students of theology up to speed on this broader intellectual project, with an eye toward what brings Žižek to an explicit engagement with Christianity and how both his earlier and more recent works are relevant for theological reflection.

    Brands allow marketers to add meaning to products and services, but it is consumers who ultimately determine what a brand means. The sources of brand meaning are many and varied, as are the ways in which meanings become attached to brands. Brand Meaning takes a comprehensive and holistic look at how consumers find and create meaning in brands. It explores the fundamental conscious and unconscious elements that connect people with products and brands. Traditional marketing concepts are questioned, and a new brand meaning framework is put forward. The book lays out new and fertile territory for the understanding of how brands can both assimilate and provide meaning. It will leave readers with a better appreciation of what brand means and what brands mean. Primarily intended as a supplemental reader for undergraduate, graduate and MBA courses, the book's scope should also make it rewarding and valuable reading for practitioners in the fields of marketing and advertising.

    From earliest childhood to the end of our lives, we are driven by this impulse in its varying forms, and The Infinite Question illustrates how Freud's free associative method provides both patient and analyst with answers and, in turn, with an ongoing interplay of further questions.At the book's core are transcripts of real analytical sessions, accompanied by parallel commentaries which highlight key aspects of the free associative method in practice. These transcripts are contextualised by further discussion of the cases themselves, as well as a wider theoretical framework which places its emphasis on Freud's theory of the logic of sequence: by learning to listen to this free associative logic, Bollas argues, we can discover a richer and more complex unconscious voice than if we rely solely on Freud's theory of repressed ideas.Bollas demonstrates, in an eloquent and persuasive manner, how the Freudian position of evenly suspended attentiveness enables the analyst's unconscious to catch the drift of the patient's own unconscious. He also shows that to stimulate further questioning is often of more benefit to the analytical process than to jump to an interpretation. Yet whatever fascinating course a session may take, neither the patient nor the analyst can halt the progress of the self-propelling interrogative drive.The Infinite Question will be invaluable to both the new student and the experienced psychoanalyst, read either on its own or as a practice-based extension of the theoretical ideas elaborated in its companion volume, The Evocative Object World (also published by Routledge).

    Literary Criticism. Politics. Poetry. "Imagine--and witness--public space that is produced by us. In LANDSCAPES OF DISSENT, Sand and Boykoff remind us that there is a long history and ripe presence of intersections between poetry and politics. David Harvey is quoted in these pages as saying that public space is 'decisive.' In an age in which alienation is among our most prevalent health hazards, LANDSCAPES OF DISSENT demonstrates that poetry may be newly, again, good for you. This book is a gift. Take the power"--Carol Mirakove.

    One concerned sex, the other philosophy. The classic view of Beauvoir, encouraged by her own writing and by Sartre's acquiescence, has been one of Sartre as womanizer and Beauvoir as the patient, loyal female victim. The legend also consistently portrayed Beauvoir as the midwife of Sartre's philosophy rather than a thinker in her own right, encouraging the view that her philosophical writings were mere echoes of the thoughts of her man. But over the past 25 years big chunks of documentary evidence have become public which show that both of these traditional interpretations of the Sartre-Beauvoir story are profoundly false. It is now clear, as this book explains, that it was Beauvoir's demand for sexual freedom that dictated the open terms of their relationship and that it fell to Sartre at least as often as to Beauvoir to perform the role of midwife for the other's philosophy.Jean-Paul Sartre and Simone de Beauvoir were two of the most brilliant, influential, and scandalous intellectuals of the 20th century. They are remembered as much for the lives they led as for their influence on the way we think. Their committed but notoriously open union created huge controversy in their lifetime. And even before their deaths they had become one of history's legendary couples, renowned for the passion, daring, humor and intellectual intensity of their relationship.This fascinating book presents a biography of Sartre and de Beauvoir's relationship and offers some highly original theories relating to the extent of de Beauvoir's contribution to their shared ideas. Through a thorough examination of Sartre and de Beauvoir's major works, the authors present a compelling story of their romantic and intellectual relationships.

    Culled from newspapers, journals, and books, White Ink collects the best of these conversations, which address the major concerns of Cixous's critical work and features two dialogues with twentieth-century intellectuals Michel Foucault and Jacques Derrida.The interviews in White Ink span more than three decades and include a new conversation with Susan Sellers, the book's editor and a leading Cixous scholar and translator. Cixous discusses her work and writing process. She shares her views on literature, feminism, theater, autobiography, philosophy, politics, aesthetics, religion, ethics, and human relations, and she reflects on her roles as poet, playwright, professor, woman, Jew, and, her most famous, "French feminist theorist." Sellers organizes White Ink in such a way that readers can grasp the development of Cixous's commentary on a series of vital questions. Taken together, the revealing performances in White Ink provide an excellent introduction this thinker's brave and vital work--each one an event in language and thought that epitomizes Cixous's intellectual and poetic force.

    Essays. Literary Criticism. Gustaf Sobin's final book of essays continues his meditations on the meaning of archaeological vestiges in the south of France. Sobin's writing synthesizes insights from anthropology, philosophy, theology, and the history of art to produce a spiritual and poetic travelogue through vanished time. Left uncompleted at the end of his life, the present volume would have concluded the trilogy whose first two volumes were published by University of California Press (Luminous Debris 1999] and Ladder of Shadows 2008]). The scope and ambition of Sobin's poetic archaeology can be compared only to Walter Benjamin's Arcades project, also left uncompleted, and which similarly sought to draw poetic and philosophical insights from the remnants of material culture.

    Instead, they imagined history as discontinuous, made of moments that form no totality but whose ruptures are both more significant—and more promising—than any apparent homogeneity.Their direct experience of the twentieth century's great upheavals led these three thinkers to abandon the old models of causality that had previously accounted for human experience, and their cultural and religious background allowed them to turn to the Jewish experience of history. Jewish messianism always had to confront the experience of catastrophe, deception, and failure. Mosès shows how this tradition informed a genuine Jewish conception of history in which redemption may—or may not—occur at any moment, giving a new chance for hope by locating utopia in the heart of the present.

    Until recently these systems were considered as haphazard sets of points and connections. Recent advances have generated a vigorous research effort in understanding the effect of complex connectivity patterns on dynamical phenomena. For example, a vast number of everyday systems, from the brain to ecosystems, power grids and the Internet, can be represented as large complex networks. This new and recent account presents a comprehensive explanation of these effects.

    Rather than simply focusing on the ways in which disabled persons are portrayed, Michael Davidson explores how the experience of disability shapes the work of artists and why disability serves as a vital lens through which to interpret modern culture. Covering an eclectic range of topics---from the phantom missing limb in film noir to the poetry of American Sign Language---this collection delivers a unique and engaging assessment of the interplay between disability and aesthetics.Written in a fluid, accessible style, Concerto for the Left Hand will appeal to both specialists and general audiences. With its interdisciplinary approach, this book should appeal not only to scholars of disability studies but to all those working in minority art, deaf studies, visual culture, and modernism.Michael Davidson is Professor of American Literature at the University of California, San Diego. His other books include Guys Like Us: Citing Masculinity in Cold War Poetics and Ghostlier Demarcations: Modern Poetry and the Material World.

    This volume brings together a wide selection of Poulantzas’ key writings in legal philosophy and political sociology, including some important pieces translated here for the first time. Texts include his early analyses of law, his studies of hegemony, authoritarianism, and social classes, and his debate on the state with Ralph Miliband and Ernesto Laclau.An essential introduction for the scholar and the student to a body of work that continues to reverberate across the social sciences.

    Empires collapsed, new countries were born, revolutions shocked and inspired the world. This tumult, sometimes referred to as ‘the literary war’, saw an extraordinary outpouring of writing. The conflict opened up a vista of possibilities and tragedies for poetic exploration, and at the same time poetry was a tool for manipulating the sentiments of the combatant peoples. In Germany alone during the first few months there were over a million poems of propaganda published. We think of war poets as pacifistic protestors, but that view has been created retrospectively. The verse of the time, particularly in the early years of the conflict—in Fernando Pessoa or Filippo Tommaso Marinetti, for example—could find in the violence and technology of modern warfare an awful and exhilarating epiphany. In this cultural history of the First World War, the conflict is seen from the point of view of poets and writers from all over Europe, including Rupert Brooke, Anna Akhmatova, Guillaume Apollinaire, Gabriele D’Annunzio, Vladimir Mayakovsky, Rainer Maria Rilke and Siegfried Sassoon. Everything to Nothing is the award-winning panoramic history of how nationalism and internationalism defined both the war itself and its aftermath—revolutionary movements, wars for independence, civil wars, the treaty of Versailles. It reveals how poets played a vital role in defining the stakes, ambitions and disappointments of postwar Europe.

    He also wrote a variety of texts on theater and performance that have, until now, been only partially available in English.Zeami: Performance Notes presents the full range of Zeami's critical thought on this subject, which focused on the aesthetic values of no and its antecedents, the techniques of playwriting, the place of allusion, the training of actors, the importance of patronage, and the relationship between performance and broader intellectual and critical concerns. Spanning over four decades, the texts reflect the essence of Zeami's instruction under his famous father, the actor Kannami, and the value of his long and challenging career in medieval Japanese theater.Tom Hare, who has conducted extensive studies of no academically and on stage, begins with a comprehensive introduction that discusses Zeami's critical importance in Japanese culture. He then incorporates essays on the performance of no in medieval Japan and the remarkable story of the transmission and reproduction of Zeami's manuscripts over the past six centuries. His eloquent translation is fully annotated and includes Zeami's diverse and exquisite anthology of dramatic songs, Five Sorts of Singing, presented both in English and in the original Japanese.

    Instead of compiling articles from professional journals, this innovative reader presents twenty classroom-tested lessons from dedicated, experienced teachers. These diverse readings examine key topics in the field, from the social construction of nature to the growing influence of global media on our understanding of the environment.Building this collection on the model of a successful undergraduate classroom experience, coeditors Kenneth A. Gould and Tammy L. Lewis asked the contributors to choose a topic, match it with their favorite class lecture, and construct a lesson to reflect the way they teach it in the classroom. The result is an engaging, innovative, and versatile volume that presents the core ideas of environmental sociology in concise, accessible chapters. Each brief lesson is designed as a stand-alone piece and can be easily adapted into an existing course syllabus.Ideal for any course that looks at the environment from a sociological perspective, Twenty Lessons in Environmental Sociology offers an insightful introduction to this dynamic subject.

    O'Brien, Cole Swensen, Andrew Joron, and many others, and a special gatefold poem by Joshua Clover. Besides a novella by the French avant-gardist Olivier Cadiot, It also includes essays on poetry by C. D. Wright, Cathy Wagner, Monica de la Torre, Calvin Bedient, Susan McCabe, and David Lau; essays on Jia Zhang-ke, film noir, and Goddard; essays on Drive-by Truckers and Fergie; and art work by Alan Halsey and Peter Sacks.

    How architects and engineers relate to one another has long been debated but never before addressed over a broad span of history. There are many controversial issues: about professional demarcation, about credit for design, about the value we attach to art in buildings, and about how that connects with advances in technique and efficiency.This pioneering and handsomely illustrated book enquires for the first time into the pattern of these relationships since the Renaissance. Concentrating particularly on Britain, France and the United States, Architect and Engineer looks at what has actually taken place when architecture and engineering have interlocked. It examines projects ranging from the building of Waterloo Bridge to the evolution of the Chicago skyscraper, and personalities from Vauban to Brunel and Wright.The results of this impartial investigation may often surprise and provoke the reader. It is a study that has radical implications for the compartmentalized ways in which the history of architecture and construction has conventionally been addressed.

    Against the prevalent notion that there was an ethical or religious "turn" in Derrida's thinking, Hägglund argues that a radical atheism informs Derrida's work from beginning to end. Proceeding from Derrida's insight into the constitution of time, Hägglund demonstrates how Derrida rethinks the condition of identity, ethics, religion, and political emancipation in accordance with the logic of radical atheism. Hägglund challenges other major interpreters of Derrida's work and offers a compelling account of Derrida's thinking on life and death, good and evil, self and other. Furthermore, Hägglund does not only explicate Derrida's position but also develops his arguments, fortifies his logic, and pursues its implications. The result is a groundbreaking deconstruction of the perennial philosophical themes of time and desire as well as pressing contemporary issues of sovereignty and democracy.

    Moving across technology, industry, local history, architecture, literature, print culture, the visual arts, optics, and philosophy, it will transform our understanding of the Victorian period.The mass production of glass in the nineteenth century transformed an ancient material into a modern one, at the same time transforming the environment and the nineteenth-century imagination. It created a new glass culture hitherto inconceivable. Glass culture constituted Victorian modernity. It was made from infinite variations of the prefabricated glass panel, and the lens. The mirror and the window became its formative elements, both the texts and constituents of glass culture. The glassworlds of the century are heterogeneous. They manifest themselves in the technologies of the factory furnace, in the myths of Cinderella and her glass slipper circulated in print media, in the ideologies of the conservatory as building type, in the fantasia of the shopfront, in the production of chandeliers, in the Crystal Palace, and the lens-made images of the magic lantern and microscope. But they were nevertheless governed by two inescapable conditions.First, to look through glass was to look through the residues of the breath of an unknown artisan, because glass was mass produced by incorporating glassblowing into the division of labour. Second, literally a new medium, glass brought the ambiguity of transparency and the problems of mediation into the everyday. It intervened between seer and seen, incorporating a modern philosophical problem into bodily experience. Thus for poets and novelists glass took on material and ontological, political, and aesthetic meanings.Reading glass forwards into Bauhaus modernism, Walter Benjamin overlooked an early phase of glass culture where the languages of glass are different. The book charts this phase in three parts. Factory archives, trade union records, and periodicals document the individual manufacturers and artisans who founded glass culture, the industrial tourists who described it, and the systematic politics of window-breaking. Part Two, culminating in glass under glass at the Crystal Palace, reads the glassing of the environment, including the mirror, the window, and controversy round the conservatory, and their inscription in poems and novels. Part Three explores the lens, from optical toys to 'philosophical' instruments as the telescope and microscope were known.A meditation on its history and phenomenology, Victorian Glassworlds is a poetics of glass for nineteenth-century modernity.

    Womens natural voices, and true leadership, are often stifled under misconceptions and over-learned responses. Yet these obstacles can be removed, and the brain can be changed to unlock womens authentic voices allowing them to speak from the heart, build trust, and own their power as leaders.

    The authors draw on extensive experience and research to provide a framework for constructing lucid formulations of complex cases. They identify obstacles that frequently arise during the early, middle, and later stages of treatment and present a wide range of practical solutions. The volume demonstrates clear-cut yet flexible ways to enhance client engagement, foster metacognitive awareness, facilitate emotional processing, address low self-esteem and fear of uncertainty, and much more. Reproducible handouts and forms are included.

    In the process he sheds light on the vexing topics of diaspora, migration, identity, and group formation.

    With painstaking detail and precision, Henry reveals the decisive methodological assumptions that led Husserlian phenomenologyin the direction of Idealism. Returning to the materiality of life, Henry's material phenomenology situates central phenomenological themes-intentionality, temporality, embodiment, and intersubjectivity-within the full concreteness of life.One of the most accessible of Henry's books, Material Phenomenology is essential reading for those interested in the future of phenomenology or in a philosophy of life in the truest sense.

    Deleuze's philosophy has always promised a revolution in ethical theories and in our understanding of the relation between language, thought and action. This book develops a critical reading of Deleuze's work in order to convey the potential and risks of his new approaches to questions of how to live an intense life in response to the excitement and danger of events. This interpretation covers all aspects of Deleuze's book, including engagements with phenomenology, with analytic philosophy of language, with stoicism, with literary theory and with psychoanalysis. Its aim is to open new debates and develop current ones around Deleuze's work in philosophy, politics, literature, linguistics and sociology.

    This book is a clear guide to reading Marx's classic text, which explains the reasoning behind the book's structure and provides help with the more technical aspects that non-economists may find taxing.Students are urged to think for themselves and engage with Marx's powerful methods of argument and explanation. Shapiro shows that Capital is key to understanding critical theory and cultural production.This highly focused book will prove invaluable to students of politics, cultural studies, and literary theory.

    As the social contract becomes a distant memory, the new corporate state distances itself from workers and minority groups, who become more disposable in a new age of uncertainty and manufactured fear. This is the only book to connect the history, ideology, and consequences of neoliberal policies to education and cultural issues that pervade almost every aspect of daily life. A significantly revised and updated new version of Giroux's 2003 book, The Terror of Neoliberalism, this book points to ways in which neoliberal ideology can be resisted, and how new forms of citizenship and collective struggles can be forged, to reclaim the meaning both of a substantive politics and of a democratic society. Against the Terror of Neoliberalism was featured in the New York Times in the Stanley Fish blog: Stanley Fish Blog

    Nothing is sacred.Critical and cultural theory invites a rethinking of some of our most basic assumptions about who we are, how we behave, and how we interpret the world around us.The Routledge Critical and Cultural Theory Reader brings together 29 key pieces from the last century and a half that have shaped the field. Topics include: subjectivity, language, gender, ethnicity, sexuality, the body, the human, class, culture, everyday life, literature, psychoanalysis, technology, power, and visuality. The choice of texts, together with the editors' introduction and glossary, will allow newcomers to begin from first principles, while the use of unabridged readings will also make the volume suitable for those undertaking more specialized work. Material is arranged chronologically, but the editors have suggested thematic pathways through the selections.

    Massacres, rape, displacement, famine, and disease are the strategic decisions of political and military leaders who make civilians their targets in order to gain the upper hand in battle. Yet there still exists the precious and fragile belief-ingrained in modern international law-that unarmed and innocent people should be protected in war, even if, in practice, the principle of civil immunity is often ignored or rejected. Hoping to rectify this injustice, Hugo Slim uses detailed historical and contemporary examples to reveal the many ways civilians suffer in war. A leading commentator on international humanitarian action and the protection of civilians in war, Slim analyzes the anti-civilian ideologies that encourage and perpetuate suffering and exposes the exploitation of moral ambiguity that is used to sanction extreme hostility. At what point does killing civilians become part of winning a war? Why are some methods of killing used while others are avoided? Bolstering his claims with hard fact, Slim argues that civilian casualties are not only morally reprehensible but also bad military science. His book is a clarion call for action and a passionate defense of civil immunity, a concept that is more urgent and necessary today than ever before.

    Public Schools? Is Science Once More to be Burned on the Cross? Will Creationism Win the 2,500 Year War with Materialism and Reason?A critique of religious dogma historically provides the basis for rational inquiry into the physical and social world. Critique of Intelligent Design is a key to understanding the forces of irrationalism challenging the teaching of evolution in U.S. public schools and seeking to undermine the natural and social sciences. It illuminates the 2,500 year evolution of the materialist critique--the explanation of the world in terms of itself-- from antiquity to the present through engaging the work of Socrates, Plato, Aristotle, Epicurus, Lucretius, Francis Bacon, Isaac Newton, David Hume, William Paley, Charles Darwin, Karl Marx, Sigmund Freud, Stephen Jay Gould, and numerous others (including contemporary advocates of 'intelligent design').Proponents of intelligent design--creationism in a more subtle guise--have recently reignited the age-old war between materialism and creationism, in which they claim to elevate their doctrine to empirical truth and thus incorporate it into science curricula. They attack modern science, advancing a pseudo-scientific view and a reactionary political culture in line with their theology and what they perceive as a knowable moral order. They single out for criticism the greatest modern representatives of materialist-scientific thought: Darwin, Marx, and Freud.Critique of Intelligent Design is a direct reply to the criticisms of intelligent design proponents and a compelling account of the long debate between materialism and religion in the West. It provides an overview of the contemporary fight concerning nature, science, history, morality, and knowledge. Separate chapters are devoted to the design debate in antiquity, the Enlightenment and natural theology, Marx, Darwin, and Freud, and to current scientific debates over evolution and design. It offers empowering tools to understand and defend critical and scientific reasoning in both the natural and social sciences and society as a whole.

    In Subject to Display, Jennifer Gonz�lez offers the first sustained analysis of their contribution, linking the history and legacy of race discourse to innovations in contemporary art. Race, writes Gonz�lez, is a social discourse that has a visual history. The collection and display of bodies, images, and artifacts in museums and elsewhere is a primary means by which a nation tells the story of its past and locates the cultures of its citizens in the present.All five of the American installation artists Gonz�lez considers have explored the practice of putting human subjects and their cultures on display by staging elaborate dioramas or site-specific interventions in galleries and museums; in doing so, they have created powerful social commentary of the politics of space and the power of display in settings that mimic the very spaces they critique. These artists' installations have not only contributed to the transformation of contemporary art and museum culture, but also linked Latino, African American, and Native American subjects to the broader spectrum of historical colonialism, race dominance, and visual culture. From Luna's museum installation of his own body and belongings as "artifacts" and Wilson's provocative juxtapositions of museum objects to Mesa-Bains's allegorical home altars, Osorio's condensed spaces (bedrooms, living rooms; barbershops, prison cells) and Green's genealogies of cultural contact, the theoretical and critical endeavors of these artists demonstrate how race discourse is grounded in a visual technology of display.

    The book presents a range of viewpoints and does not ignore the perils of an easy association of ethics and aesthetics. Yet the majority of contributors, among them historians, theorists, as well practicing designers and artists, argue passionately in defense of the idea that the good and the beautiful can and should be able to find a common ground in the design disciplines.The book begins with an exploration of recent difficulties in pairing ethics and aesthetics. Can one effect a philosophical convergence of these elements, or is it dangerous to conflate moral and aesthetic terms? The discussion continues with considerations of the overlap that occurs between the fine arts and the design disciplines, the intersection of aesthetic theory and practice with sustainability and environmental science, and the concept of "open works"--projects whose design processes are flexible, nonhierarchical, and attuned to the unique features of a particular place or cultural situation. The book concludes with a look at several contrasting ideas developed in the essays and examines ethics as a desire for community, as well as a sense of responsibility, an obligation to contemplate not only what buildings offer us but also what they may take away.In juxtaposing the work of historians and theorists with that of practicing designers and artists, The Hand and the Soul, whose title is drawn from an essay by American artist Philip Guston, seeks to bridge the divide between theory and practice, between abstract ethical or aesthetic concepts and practical ways of making tangible artifacts. In a field dominated by esoteric studies and, at the other extreme, primarily illustrated works, The Hand and the Soul offers a vital discussion that is at once theoretically rigorous and grounded in the practice of art, architecture, landscape architecture, and urbanism.ContributorsRichard Shusterman * Joan Ockman * Howard Singerman * Robin Dripps * Nathaniel Coleman * Thomas Berding * Steven A. Moore * William Sherman * Timothy Beatley * Elissa Rosenberg * Phoebe Crisman * Sanda Iliescu * W. G. Clark

    Rothenberg’s earliest critical writings concerned themselves with ethnopoetics and the poetics of performance. In the last twenty years his critical thinking has evolved to encompass more explicitly issues of modernism, postmodernism, and the avant-garde, as well as meditations on the nature of the book and writing. This volume extends and elaborates all of those interests, allowing for the first time a comprehensive glimpse of the full trajectory of his thinking. In the first section, “Poetics and Polemics,” Rothenberg’s essays address a range of issues with which he’s become closely associated, among them the anthology as a critical and polemical tool; the intersection of poetry with art, performance, and politics, in both contemporary and traditional practice; the poetics of Jewish mysticism as a traditional form of conceptual and language poetry; and the universality of poetic discourse, particularly as seen in tribal poetry or in poetic traditions long separated from the Western literary mainstream.  In “A Gallery of Poets” is Rothenberg’s lively explorations of the work of other poets, as they relate to his own work, to avant-garde poetry in general, and to the poetic traditions that concern him the most. Finally, in “Dialogues and Interviews” are Rothenberg’s unbridled meditations and musings on what he calls “the life of poetry” outside the bounds of book and binding, class and category, a dynamic force at the center of all that we call human.

    Jacques Derrida was one of the most famous and influential philosophers of the later twentieth century. First published in 1967, Of Grammatology is his best known text, introducing many fundamental concepts relating to linguistics and writing which he would develop in his later work. This book provides a commentary on Of Grammatology that can be read alongside--rather than instead of--the text itself by students encountering Derrida for the first time.

    In a world riven by social and economic crises, from rising inequality to the decay of democratic institutions and profound technological disruption, Polanyi's path-breaking account of the dynamics of market capitalism and his defence of society and nature against the dangerous tendencies of the market capitalist system are more relevant than ever. This book brings together Polanyi's most important articles and essays to give a unique selection of his essential shorter writings, mixing classic texts with significant but previously little-known pieces. It highlights the coherence and richness of Polanyi's theoretical and political approach, making it indispensable for understanding his overarching intellectual contribution. The volume includes his interwar writings, which deal with the world economic crisis and the socialist alternative to conservative and fascist developments; his reflection on political theory and the international situation after the war; and his comparative studies of economic institutions. Polanyi's political writings are complemented and supported by the critique of economic determinism and what he termed 'our obsolete market mentality'. This book is an invaluable companion to Polanyi's masterpiece, The Great Transformation, and an essential resource for students and scholars of political economy, sociology, history and political philosophy.

    Telling the story of how regular people, facing the changing city landscape, fought for their own model of the 'ideal city' by creating grassroots plans for urban renewal, this book offers an account of organized resistance to institutional plans to transform New Haven, Connecticut in the 1960s.

    He provides writing tips and strategies from a well-published, successful author of creative nonfiction and concrete guidance on finding appropriate outlets for your work. For readers, he offers a set of criteria to assess the quality of creative nonfiction writing. Goodall suggests paths to success within the academy—still rife with political sinkholes for the narrative ethnographer—and ways of building a career as a public scholar. Goodall’s work serves as both a writing manual and career guide for those in qualitative inquiry.

    Wax is tactile, ambiguous, and mesmerizing, confounding viewers and scholars alike. It can approximate flesh with astonishing realism and has been used to create uncanny human simulacra since ancient times—from phallic amulets offered to heal distressing conditions and life-size votive images crammed inside candlelit churches by the faithful, to exquisitely detailed anatomical specimens used for training doctors and Medardo Rosso’s “melting” portraits. The critical history of wax, however, is fraught with gaps and controversies. After Giorgio Vasari, the subject of wax sculpture was abandoned by art historians; in the twentieth century it once again sparked intellectual interest, only soon to vanish. The authors of the eight essays in Ephemeral Bodies—including the first English translation of Julius von Schlosser’s seminal “History of Portraiture in Wax” (1910–11)—break new ground as they explore wax reproductions of the body or body parts and assess their conceptual ambiguity, material impermanence, and implications for the history of Western art.

    From the processualist study of settlement patterns to the phenomenologist’s experience of the natural world, from human impact on past environments to the environment’s impact on human thought, action, and interaction, the term has been used. In this volume, for the first time, over 80 archaeologists from three continents attempt a comprehensive definition of the ideas and practices of landscape archaeology, covering the theoretical and the practical, the research and conservation, and encasing the term in a global framework. As a basic reference volume for landscape archaeology, this volume will be the benchmark for decades to come. All royalties on this Handbook are donated to the World Archaeological Congress.

    With the clarity and insight that have characterized his teaching and earlier textbooks, he develops a simple framework and then combines this with careful proofs to help the reader understand modern systems and simplified models in an intuitive yet precise way. A strong narrative and links between theory and practice reinforce this concise, practical presentation. The book begins with data compression for arbitrary sources. Gallager then describes how to modulate the resulting binary data for transmission over wires, cables, optical fibers, and wireless channels. Analysis and intuitive interpretations are developed for channel noise models, followed by coverage of the principles of detection, coding, and decoding. The various concepts covered are brought together in a description of wireless communication, using CDMA as a case study.

    Students will appreciate the book's applied emphasis, which illustrates theoretical concepts with examples of nanostructured materials, optics, and semiconductor devices. The many worked examples and more than 160 homework problems help students to problem solve and to practice applications of theory. Without assuming a prior knowledge of high-level physics or classical mechanics, the text introduces Schrodinger's equation, operators, and approximation methods. Systems, including the hydrogen atom and crystalline materials, are analyzed in detail. More advanced subjects, such as density matrices, quantum optics, and quantum information, are also covered. Practical applications and algorithms for the computational analysis of simple structures make this an ideal introduction to quantum mechanics for students of engineering, physics, nanotechnology, and other disciplines. Additional resources available from www.cambridge.org/9780521897839.

    For Robert von Hallberg, the authority of lyric poetry has three sources: religious affirmation, the social institutions of those who speak the idioms from which particular poems are made, and the extraordinary cognition generated by the formal and musical resources of poems. Lyric Powers helps students, poets, and general readers to recognize the pleasures and understand the ambitions of lyric poetry. To explain why a reader might prefer one kind of poem to another, von Hallberg analyzes—beyond the political and intellectual significance of poems—the musicality of both lyric poetry and popular song, including that of Tin Pan Alley and doo-wop. He shows that poets have distinctive intellectual resources—not just rhetorical resources—for examining their subjects, and that the power of poetic language to generalize, not particularize, is what justly deserves a critic’s attention. The first book in more than a decade from this respected critic, Lyric Power will be celebrated as a genuine event by readers of poetry and literary criticism.

    The book is composed on sections about the new Left of the 1960s, the Chicago 8, Vietnam, electoral politics, gang violence, Ireland, the environment, global justice and US foreign policy today.Tom Hayden changed America, the national correspondent of The Atlantic, Nicholas Lemann, has written. He created the blueprint for the Great Society programs, according to presidential assistant Richard Goodwin. He was the single greatest figure of the 1960s student movement, according to The New York Times Book Review. Forty years later he was described as the conscience of the Senate.His journey is our journey through the tumultuous and disillusioning decades. He is our Everyman, he is us.--Seattle Post-IntelligencerOne comes away enthralled by Hayden's odyssey.--The Boston Sunday GlobeTom Hayden is the author or editor of more than a dozen critically acclaimed books, including Reunion and Street Wars.

    Many have investigated whether Newton believed that this original pure knowledge existed. Some conclude that he did in fact search for it.For the first time in history, in Temple at the Center of Time, David Flynn uncovers what Newton was looking for and, in so doing, proves that pivotal events in history are unquestionably connected in time and space to the Temple of Jerusalem. Flynn’s revelations are sure to be heralded as one of the greatest discoveries in modern times.

    In Becoming Beside Ourselves, Rotman turns his attention to alphabetic writing or the inscription of spoken language. Contending that all media configure what they mediate, he maintains that alphabetic writing has long served as the West’s dominant cognitive technology. Its logic and limitations have shaped thought and affect from its inception until the present. Now its grip on Western consciousness is giving way to virtual technologies and networked media, which are reconfiguring human subjectivity just as alphabetic texts have done for millennia.Alphabetic texts do not convey the bodily gestures of human speech: the hesitations, silences, and changes of pitch that infuse spoken language with affect. Rotman suggests that by removing the body from communication, alphabetic texts enable belief in singular, disembodied, authoritative forms of being such as God and the psyche. He argues that while disembodied agencies are credible and real to “lettered selves,” they are increasingly incompatible with selves and subjectivities formed in relation to new virtual technologies and networked media. Digital motion-capture technologies are restoring gesture and even touch to a prominent role in communication. Parallel computing is challenging the linear thought patterns and ideas of singularity facilitated by alphabetic language. Barriers between self and other are breaking down as the networked self is traversed by other selves to become multiple and distributed, formed through many actions and perceptions at once. The digital self is going plural, becoming beside itself.

    Snediker offers a much-needed counterpoint to queer theoretical discourse, which has long privileged melancholy, self-shattering, incoherence, shame, and the death drive. Recovering the forms of positive affect that queer theory has jettisoned, Snediker insists that optimism must itself be taken beyond conventional tropes of hope and futurity and reimagined as necessary for critical engagement.

    At War with Metaphor offers an answer, arguing that the abuses of Abu Ghraib were part of a systemic continuum of dehumanization. This continuum has its roots in our public discussions of the war on terror and the metaphors through which they are repeatedly framed. Arguing earnestly and incisively that these metaphors, if left unexamined, bind us into a cycle of violence that will only be intensified by a responsive violence of metaphor, Steuter and Wills examine compelling examples of the images of animal, insect, and disease that inform, shape, and limit our understanding of the war on terror. Tying these images to historical and contemporary uses of propaganda through a readable, accessible analysis of media filters, At War with Metaphor vividly explores how news media, including political cartoons and talk radio, are enmeshed in these damaging, dehumanizing metaphors. Analyzing media through the lenses of race and Orientalism, it invites us to hold our media and ourselves accountable for the choices we make in talking war and making enemies.

    

    With her distinctive psychological acumen, she argues that Shakespeare’s play frames the uneasy relationship between Christian and Jew specifically in familial terms in order to recapitulate the vexed familial relationship between Christianity and Judaism.Adelman locates the promise—or threat—of Jewish conversion as a particular site of tension in the play. Drawing on a variety of cultural materials, she demonstrates that, despite the triumph of its Christians, The Merchant of Venice reflects Christian anxiety and guilt about its simultaneous dependence on and disavowal of Judaism. In this startling psycho-theological analysis, both the insistence that Shylock’s daughter Jessica remain racially bound to her father after her conversion and the depiction of Shylock as a bloody-minded monster are understood as antidotes to Christian uneasiness about a Judaism it can neither own nor disown.In taking seriously the religious discourse of The Merchant of Venice, Adelman offers in Blood Relations an indispensable book on the play and on the fascinating question of Jews and Judaism in Renaissance England and beyond.

    In On Reason, the late philosopher Emmanuel Chukwudi Eze demonstrates that rationality, and by extension philosophy, need not be renounced as manifestations or tools of Western imperialism. Examining reason in connection to the politics of difference—the cluster of issues known variously as cultural diversity, political correctness, the culture wars, and identity politics—Eze expounds a rigorous argument that reason is produced through and because of difference. In so doing, he preserves reason as a human property while at the same time showing that it cannot be thought outside the realities of cultural diversity. Advocating rationality in a multicultural world, he proposes new ways of affirming both identity and difference.Eze draws on an extraordinary command of Western philosophical thought and a deep knowledge of African philosophy and cultural traditions. He explores models of rationality in the thought of philosophers from Aristotle, René Descartes, Francis Bacon, and Thomas Hobbes to Noam Chomsky, Richard Rorty, Hilary Putnam, and Jacques Derrida, and he considers portrayals of reason in the work of the African thinkers and novelists Chinua Achebe, Ngugi wa Thiong’o, and Wole Soyinka. Eze reflects on contemporary thought about genetics, race, and postcolonial historiography as well as on the interplay between reason and unreason in the hearings of South Africa’s Truth and Reconciliation Commission. He contends that while rationality may have a foundational formality, any understanding of its foundation and form is dynamic, always based in historical and cultural circumstances.

    Discussing 'race' alongside 'queer' often submerges raciality within queerness, leaving racialised groups silent and silenced -'out of place'. Out of Place creates a space where queerness/raciality are brought together in creative tension to disturb these silences: to hear the invisible, to see the inaudible.Out of Place takes the reader through an inspiring, illuminating and at times painful journey. The book explores queerness/raciality in the context of the 'war on terror'; corporeal and social practices in and of space;relations between visibility and politics; and cultural, literary, linguistic and theoretical mechanisms of translation. The papers in Out of Place cut across academic theory, arts, activism, the media and everyday life. All the contributors to Out of Place address queerness/ raciality as a theoretical and political tool to analyse and challenge their own fields, epistemologies and ontologies. This groundbreaking and fascinating book is not just about what happens at the intersection of 'queer' and 'race', but also about how this intersection relates to and animates other aspects of life.CONTENTSIntroduction by Adi Kuntsman and Esperanza MiyakePart I Queerness/raciality and the 'war on terror'Jasbir Puar: Homonationalism and BiopoliticsJin Haritaworn, with Tamsila Tauqir and Esra Erdem: Gay Imperialism: Gender and Sexuality Discourse in the 'war on terror'Adi Kuntsman: Genealogies of Hate, Metonymies of violence: Immigration, Homophobia, HomopatriotismPart II Embodying spaces of queerness/racialityEsperanza Miyake: The Voice of Silence: Interrogating the Sound of Queerness/RacialityNina Held and Tara Leach: 'What Are You Doing Here?': The 'Look' and (Non) Belongings of Racialised Bodies in Sexualised SpaceThomas Viola Rieske: Un/Staging White BeautyPart III Visualising queerness/racialityCarmen Vazquez: Voice and Visibility: Looking Up At the StarsMiriam Strube: Of Baggy Monsters and Beautiful Women: Homonormativity and The L WordPart IV Translating languages of queerness/racialityAniruddha Dutta: Narratives of Access and Exclusion: Nationhood, Class and Queerness in the Indian English-Language PressMaria Amelia Viteri: Out of Place: Translations of 'Race', Ethnicity, Sexuality and Citizenship in Washington, D.C and San Salvador, El SalvadorUmut Erel, Jin Haritaworn, Encarnación Gutíerrez Rodríguez and Christian Klesse: On the Depoliticisation of Intersectionality Talk: Conceptualising Multiple Oppressions in Critical Sexuality StudiesAfterword by Adi Kuntsman and Esperanza Miyake

    The work gathered here creates an alternative perspective on the built environment through contemporary culture. Particular attention is paid to spaces that are in some way temporary, contingent, marginal or fictional in order to critically analyse the meaning of art, and to provide a tenable counter-narrative to architecture's dominant ideologies concerning technological imperatives and the monumental." This book examines theories of space from descriptive, analytic and creative perspectives in art, theory and literature and features works and text by such internationally acclaimed artists as Dan Graham, Marjetica Potrc, Gordon Matta-Clark, David Hoffos, Jimmie Durham, Luanne Martineau, William Pope.L and Rita McKeough.

    While the play represented a watershed in American theater and culture, it belies a hundred years of previous attention to queer Jewish identity in twentieth-century American literature, drama, and film. In The Passing Game, Warren Hoffman sheds light on this long history, taking up both Yiddish and English narratives that explore the tensions among Jewish identity, queer sexuality, performance, and American citizenship.With fresh insight Hoffman examines the 1907 Yiddish play God of Vengeance by Sholem Asch, the cross-dressing films of Yiddish actress Molly Picon, and several short stories by Isaac Bashevis Singer. He also analyzes the English-language novels The Rise of David Levinsky (Abraham Cahan), Wasteland (Jo Sinclair), and Portnoy’s Complaint (Phillip Roth). Hoffman highlights the ways in which the characters in these canonical texts attempt to "pass" as white, straight, and American in the early and mid–twentieth century. This pioneering work is a welcome contribution to the study of Jewish American literature and culture.

    Any one of these tasks well fulfilled would have been a laudable achievement. First, Schwartz argues for the centrality of the question of equality to democratic politics. Second, he critically analyzes and explains the shocking rise in inequality in the United States over the last three decades. This he does with conceptual clarity, rich interdisciplinary analysis, and a thorough examination of hard socioeconomic data. Third, he assails the near absence of concern for this soaring inequality among contemporary political theorists, and offers a cogent, and stinging, explanation that takes to task the discipline's preoccupation with difference and identity severed from the pragmatics of democratic equality. The Future of Democratic Equality is a courageous and disciplined effort to tackle a hugely important political problem and intellectual puzzle. It well embodies the spirit of the Easton Book Award by providing well-grounded normative theory targeted to an urgent matter of contemporary concern. It is a must read for anyone who cares about democracy. - Respectfully submitted by Leslie Paul Thiele, University of Florida (chair) and Cary J. Nederman, Texas A&M UniversityWhy has contemporary radical political theory remained virtually silent about the stunning rise in inequality in the United States over the past thirty years? Schwartz contends that since the 1980s, most radical theorists shifted their focus away from interrogating social inequality to criticizing the liberal and radical tradition for being inattentive to the role of difference and identity within social life. This critique brought more awareness of the relative autonomy of gender, racial, and sexual oppression. But, as Schwartz argues, it also led many theorists to forget that if difference is institutionalized on a terrain of radical economic inequality, unjust inequalities in social and political power will inevitably persist.Schwartz cautions against a new radical theoretical orthodoxy: that universal norms such as equality and solidarity are inherently repressive and homogenizing, whereas particular norms and identities are truly emancipatory. Reducing inequality among Americans, as well as globally, will take a high level of social solidarity--a level far from today's fragmented politics. In focusing the left's attention on the need to reconstruct a governing model that speaks to the aspirations of the majority, Schwartz provocatively applies this vision to such real world political issues as welfare reform, race relations, childcare, and the democratic regulation of the global economy.

    Four Arrows provides a degree of "credibility" that will help graduate students legitimize their ideas in the eyes of more conservative university committees. This inspiring book will also help academics who sincerely want to see these alternative forms but are concerned about the rigor of "alternative" dissertation research and presentation.The featured dissertation stories tap into more diverse perspectives, more authentic experience and reflection, and more creative abilities. They are, in essence, spiritual undertakings thatHonour the centrality of the researcher's voice, experience, creativity and authorityFocus more on important questions than on research methodologies per seReveal virtues (generosity, patience, courage, respect, humility, fortitude, etc.)Regard the people's version of realityThe goal of this book is not to replace the historical values of academic research in the western tradition, but to challenge some of these values and offer alternative ideas that stem from different, sometimes opposing values.

    1949) to uniquely weave theology, psychoanalysis, and politics together into stunning commentary on contemporary culture. Assuming little prior knowledge of this controversial (atheist, communist) philosopher, Marcus Pound provides the first comprehensive, systematic account of Žižek's work as it relates specifically to theology and religious studies.

    More than four decades on, Fanon's work still inspires liberation movements today.

    Eisenman identifies a project within the oeuvre of each of these architects—Luigi Moretti, Ludwig Mies van der Rohe, Le Corbusier, Louis Kahn, Robert Venturi, James Stirling, Aldo Rossi, Rem Koolhaas, Daniel Libeskind, and Frank Gehry—that has profoundly affected architectural discourse and practice. With drawings, diagrams, and always-incisive text, he presents each architect’s theoretical position, and then offers detailed critical analysis of the project.

    Jeffrey Weinstock analyzes this tradition as an essentially feminist attempt to imagine alternatives to a world of limited possibilities. In the process, he recovers the lives and works of authors who were important during their lifetimes and in the development of the American literary tradition, but who are not recognized today for their contributions.Between the end of the Civil War and roughly 1930, hundreds of uncanny tales were published by women in the periodical press and in books. These include stories by familiar figures such as Edith Wharton, Harriet Beecher Stowe, and Charlotte Perkins Gilman, as well as by authors almost wholly unknown to twenty-first-century readers, such as Josephine Dodge Bacon, Alice Brown, Emma Frances Dawson, and Harriet Prescott Spofford. Focusing on this tradition of female writing offers a corrective to the prevailing belief within American literary scholarship that the uncanny tale, exemplified by the literary productions of Irving, Poe, and Hawthorne, was displaced after the Civil War by literary realism.Beyond the simple existence of an unacknowledged tradition of uncanny literature by women, Scare Tactics makes a strong case that this body of literature should be read as a specifically feminist literary tradition. Especially intriguing, Weinstock demonstrates, is that women authors repeatedly used Gothic conventions to express discontentment with circumscribed roles for women creating types of political intervention connected to the broader sphere of women's rights activism.Paying attention to these overlooked authors helps us better understand not only the literary marketplace of their time, but also more familiar American Gothicists from Edgar Allan Poe to Shirley Jackson to Stephen King.

    M. O. Grenby shows how these forms have evolved over three hundredyears as well as asking why most children's books, even today, continue to fallinto one or other of these generic categories. Why, for instance, has fantasybeen so appealing to both Victorian and twenty-first-century children? Are thereligious and moral stories written in the eighteenth century really so differentfrom the teenage problem novels of today? The book answers questions likethese with a combination of detailed analysis of particular key texts and a broadsurvey of hundreds of children's books, both famous and forgotten.Key Features- The first concise history of children's literature to be published for more thana decade- Extensive coverage of children's literature, across genres, continents andfrom the beginnings of the form to Harry Potter and Philip Pullman- Links close reading of texts with the historical and cultural context of theirproduction and reception