The first collection of its kind, Eric A. Stanley and Nat Smith bring together current and former prisoners, activists, and academics to offer new ways for understanding how race, gender, ability, and sexuality are lived under the crushing weight of captivity. Through a politic of gender self-determination, this collection argues that trans/queer liberation and prison abolition must be grown together. From rioting against police violence and critiquing hate crimes legislation to prisoners demanding access to HIV medications, and far beyond, Captive Genders is a challenge for us all to join the struggle."An exciting assemblage of writings—analyses, manifestos, stories, interviews—that traverse the complicated entanglements of surveillance, policing, imprisonment, and the production of gender normativity.... [T]he contributors to this volume create new frameworks and new vocabularies that surely will have a transformative impact on the theories and practices of twenty-first century abolition."—Angela Y. Davis, professor emerita, University of California, Santa Cruz"The purpose of prison abolition is to discover and promote the countless ways freedom and difference are mutually dependent. The contributors to Captive Genders brilliantly shatter the assumption that the antidote to danger is human sacrifice."—Ruth Wilson Gilmore, author of Golden Gulag: Prisons, Surplus, Crisis, and Opposition in Globalizing California"Captive Genders is at once a scathing and necessary analysis of the prison industrial complex and a history of queer resistance to state tyranny. By queering a prison abolition analysis, Captive Genders moves us to imagine the impossible dream of liberation."—Mattilda Bernstein Sycamore, author of So Many Ways to Sleep BadlyEric A. Stanley is a radical queer activist, outlaw academic, and experimental filmmaker.Nat Smith is a member of Trans/gender Variant in Prison Committee and is an organizer with Critical Resistance.

    This approach assumes that the state and its legal, policing, and social services apparatus—even its policies and documents of belonging and non-belonging—are neutral and benevolent. While we all have to comply with the gender binaries set forth by regulatory bodies of law and administration, many trans people, especially the most marginalized, are even more at risk for poverty, violence, and premature death by virtue of those same "neutral" legal structures.Normal Life: Administrative Violence, Critical Trans Politics, and the Limits of Law raises revelatory critiques of the current strategies pivoting solely on a "legal rights framework," but also points to examples of an organized grassroots trans movement that is demanding the most essential of legal reforms in addition to making more comprehensive interventions into dangerous systems of repression—and the administrative violence that ultimately determines our life chances. Setting forth a politic that goes beyond the quest for mere legal inclusion, Normal Life is an urgent call for justice and trans liberation, and the radical transformations it will require.An attorney, educator, and trans activist, Dean Spade has taught classes on sexual orientation, gender identity, poverty and law at the City University of New York (CUNY), Seattle University, Columbia University, and Harvard. In 2002 he founded the Sylvia Rivera Law Project, a collective that provides free legal services and works to build trans resistance rooted in racial and economic justice.

    The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.

    Using the innovative concept of slow violence to describe these threats, Rob Nixon focuses on the inattention we have paid to the attritional lethality of many environmental crises, in contrast with the sensational, spectacle-driven messaging that impels public activism today. Slow violence, because it is so readily ignored by a hard-charging capitalism, exacerbates the vulnerability of ecosystems and of people who are poor, disempowered, and often involuntarily displaced, while fueling social conflicts that arise from desperation as life-sustaining conditions erode.In a book of extraordinary scope, Nixon examines a cluster of writer-activists affiliated with the environmentalism of the poor in the global South. By approaching environmental justice literature from this transnational perspective, he exposes the limitations of the national and local frames that dominate environmental writing. And by skillfully illuminating the strategies these writer-activists deploy to give dramatic visibility to environmental emergencies, Nixon invites his readers to engage with some of the most pressing challenges of our time.

    While progressive political movements, including the Marxist and feminist movements, have fought for equal pay, better work conditions, and the recognition of unpaid work as a valued form of labor, even they have tended to accept work as a naturalized or inevitable activity. Weeks argues that in taking work as a given, we have “depoliticized” it, or removed it from the realm of political critique. Employment is now largely privatized, and work-based activism in the United States has atrophied. We have accepted waged work as the primary mechanism for income distribution, as an ethical obligation, and as a means of defining ourselves and others as social and political subjects. Taking up Marxist and feminist critiques, Weeks proposes a postwork society that would allow people to be productive and creative rather than relentlessly bound to the employment relation. Work, she contends, is a legitimate, even crucial, subject for political theory.

    Offering bold new ways of conceiving the present, Lauren Berlant describes the cruel optimism that has prevailed since the 1980s, as the social-democratic promise of the postwar period in the United States and Europe has retracted. People have remained attached to unachievable fantasies of the good life—with its promises of upward mobility, job security, political and social equality, and durable intimacy—despite evidence that liberal-capitalist societies can no longer be counted on to provide opportunities for individuals to make their lives “add up to something.”Arguing that the historical present is perceived affectively before it is understood in any other way, Berlant traces affective and aesthetic responses to the dramas of adjustment that unfold amid talk of precarity, contingency, and crisis. She suggests that our stretched-out present is characterized by new modes of temporality, and she explains why trauma theory—with its focus on reactions to the exceptional event that shatters the ordinary—is not useful for understanding the ways that people adjust over time, once crisis itself has become ordinary. Cruel Optimism is a remarkable affective history of the present.

    This book is not so much a manifesto as it is a dialogue—a “writing in conversation”—among a luminous group of scholar-activists revisiting the history of gay and lesbian studies in Indigenous communities while forging a path for Indigenouscentered theories and methodologies. The bold opening to Queer Indigenous Studies invites new dialogues in Native American and Indigenous studies about the directions and implications of queer Indigenous studies. The collection notably engages Indigenous GLBTQ2 movements as alliances that also call for allies beyond their bounds, which the co-editors and contributors model by crossing their varied identities, including Native, trans, straight, non-Native, feminist, Two-Spirit, mixed blood, and queer, to name just a few. Rooted in the Indigenous Americas and the Pacific, and drawing on disciplines ranging from literature to anthropology, contributors to Queer Indigenous Studies call Indigenous GLBTQ2 movements and allies to center an analysis that critiques the relationship between colonialism and heteropatriarchy. By answering critical turns in Indigenous scholarship that center Indigenous epistemologies and methodologies, contributors join in reshaping Native studies, queer studies, transgender studies, and Indigenous feminisms. Based on the reality that queer Indigenous people “experience multilayered oppression that profoundly impacts our safety, health, and survival,” this book is at once an imagining and an invitation to the reader to join in the discussion of decolonizing queer Indigenous research and theory and, by doing so, to partake in allied resistance working toward positive change.

    As the idea of childhood innocence took hold, it became racialized: popular culture constructed white children as innocent and vulnerable while excluding black youth from these qualities. Actors, writers, and visual artists then began pairing white children with African American adults and children, thus transferring the quality of innocence to a variety of racial-political projects—a dynamic that Robin Bernstein calls “racial innocence.” This phenomenon informed racial formation from the mid-19th century through the early 20th century.Racial Innocence takes up a rich archive including books, toys, theatrical props, and domestic knickknacks which Bernstein analyzes as “scriptive things” that invite or prompt historically located practices while allowing for resistance and social improvisation. Integrating performance studies with literary and visual analysis, Bernstein offers singular readings of theatrical productions, from blackface minstrelsy to Uncle Tom’s Cabin to The Wonderful Wizard of Oz; literary works by Joel Chandler Harris, Harriet Wilson, and Frances Hodgson Burnett; material culture including Topsy pincushions, Uncle Tom and Little Eva handkerchiefs, and Raggedy Ann dolls; and visual texts ranging from fine portraiture to advertisements for lard substitute. Throughout, Bernstein shows how “innocence” gradually became the exclusive province of white children—until the Civil Rights Movement succeeded not only in legally desegregating public spaces, but in culturally desegregating the concept of childhood itself.Writing in Children’s Literature, Philip Nel notes that Racial Innocence is “one of those rare books that shifts the paradigm—a book that, in years to come, will be recognized as a landmark in children’s literature and childhood studies.” In the journal Cultural Studies, reviewer Aaron C. Thomas says that Bernstein’s “theory of the scriptive thing asks us to see children as active participants in culture, and, in fact, as expert agents of the culture of childhood into which they have been interpellated. In this way, Bernstein is able not only to describe the effects of 19th-century radicalization on 21st century US culture, but also to illuminate the radicalized residues of our own childhoods in our everyday adult lives.” Racial Innocence was awarded the 2012 Outstanding Book Award from the Association for Theatre in Higher Education, and the award committee noted that the book “is a historiographic tour de force that traces a genealogy of the invention of the innocent (white) child and its racialized roots in 19th and 20th century U.S. popular culture.”

    Judith Halberstam proposes “low theory” as a mode of thinking and writing that operates at many different levels at once. Low theory is derived from eccentric archives. It runs the risk of not being taken seriously. It entails a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance. Tacking back and forth between high theory and low theory, high culture and low culture, Halberstam looks for the unexpected and subversive in popular culture, avant-garde performance, and queer art. She pays particular attention to animated children’s films, revealing narratives filled with unexpected encounters between the childish, the transformative, and the queer. Failure sometimes offers more creative, cooperative, and surprising ways of being in the world, even as it forces us to face the dark side of life, love, and libido.

    Rubin, a pioneering theorist and activist in feminist, lesbian and gay, queer, and sexuality studies since the 1970s. Rubin first rose to prominence in 1975 with the publication of “The Traffic in Women,” an essay that had a galvanizing effect on feminist thinking and theory. In another landmark piece, “Thinking Sex,” she examined how certain sexual behaviors are constructed as moral or natural, and others as unnatural. That essay became one of queer theory’s foundational texts. Along with such canonical work, Deviations features less well-known but equally insightful writing on subjects such as lesbian history, the feminist sex wars, the politics of sadomasochism, crusades against prostitution and pornography, and the historical development of sexual knowledge. In the introduction, Rubin traces her intellectual trajectory and discusses the development and reception of some of her most influential essays. Like the book it opens, the introduction highlights the major lines of inquiry pursued for nearly forty years by a singularly important theorist of sex, gender, and culture.

    An influential scholar in American and racial studies, Lipsitz contends that racism persists because a network of practices skew opportunities and life chances along racial lines. That is, these practices assign people of different races to different spaces and therefore allow grossly unequal access to education, employment, transportation, and shelter. Revealing how seemingly race-neutral urban sites contain hidden racial assumptions and imperatives, Lipsitz examines the ways in which urban space and social experience are racialized and emphasizes that aggrieved communities do not passively acquiesce to racism. He recognizes the people and communities that have re-imagined segregated spaces in expressive culture as places for congregation. How Racism Takes Place not only exposes the degree to which this white spatial imagining structures our society but also celebrates the black artists and activists who struggle to create a just and decent society.

    Aureli uses the term absolute not in the conventional sense of "pure," but to denote something that is resolutely itself after being separated from its other. In the pursuit of the possibility of an absolute architecture, the other is the space of the city, its extensive organization, and its government. Politics is agonism through separation and confrontation; the very condition of architectural form is to separate and be separated. Through its act of separation and being separated, architecture reveals at once the essence of the city and the essence of itself as political form: the city as the composition of (separate) parts. Aureli revisits the work of four architects whose projects were advanced through the making of architectural form but whose concern was the city at large: Andrea Palladio, Giovanni Battista Piranesi, Etienne Louis-Boull'e, and Oswald Mathias Ungers. The work of these architects, Aureli argues, addressed the transformations of the modern city and its urban implications through the elaboration of specific and strategic architectural forms. Their projects for the city do not take the form of an overall plan but are expressed as an "archipelago" of site-specific interventions.

    conceptions of empireIn 1761 and again in 1769, European scientists raced around the world to observe the transit of Venus, a rare astronomical event in which the planet Venus passes in front of the sun. In The Transit of Empire, Jodi A. Byrd explores how indigeneity functions as transit, a trajectory of movement that serves as precedent within U.S. imperial history. Byrd argues that contemporary U.S. empire expands itself through a transferable “Indianness” that facilitates acquisitions of lands, territories, and resources.Examining an array of literary texts, historical moments, and pending legislations—from the Cherokee Nation of Oklahoma’s vote in 2007 to expel Cherokee Freedmen to the Native Hawaiian Government Reorganization bill—Byrd demonstrates that inclusion into the multicultural cosmopole does not end colonialism as it is purported to do. Rather, that inclusion is the very site of the colonization that feeds U.S. empire.Byrd contends that the colonization of American Indian and indigenous nations is the necessary ground from which to reimagine a future where the losses of indigenous peoples are not only visible and, in turn, grieveable, but where indigenous peoples have agency to transform life on their own lands and on their own terms.

    In these ambitious, bustling essays, McSweeney resituates poetry as a medium amid media; hosts “strange meetings” of authors, texts, and artworks across the boundaries of genre, period, and nation; and examines such epiphenomena as translation, anachronism, and violence. Through readings of artists as diverse as Wilfred Owen, Andy Warhol, Harryette Mullen, Roberto Bolaño, Aimé Césaire, and Georges Bataille, The Necropastoral shows by what strategies Art persists amid lethal conditions as a spectacular, uncanny force.

    This is the story Jodi Melamed tells in Represent and Destroy, portraying the postwar racial break as a transition from white supremacist modernity to a formally antiracist liberal capitalist modernity in which racial violence works normatively by policing representations of difference.Following the institutionalization of literature as a privileged domain for Americans to get to know difference—to describe, teach, and situate themselves with respect to race—Melamed focuses on literary studies as a cultural technology for transmitting liberal racial orders. She examines official antiracism in the United States and finds that these were key to ratifying the country’s global ascendancy. She shows how racial liberalism, liberal multiculturalism, and neoliberal multiculturalism made racism appear to be disappearing, even as they incorporated the assumptions of global capitalism into accepted notions of racial equality.Yet Represent and Destroy also recovers an anticapitalist “race radical” tradition that provides a materialist opposition to official antiracisms in the postwar United States—a literature that sounds out the violence of liberal racial orders, relinks racial inequality to material conditions, and compels desire for something better than U.S. multiculturalism.

    Many economists, Marxists among them, have dismissed this theory out of hand, but Andrew Kliman’s careful data analysis shows that the rate of profit did indeed decline after the post-World War II boom and that free-market policies failed to reverse the decline. The fall in profitability led to sluggish investment and economic growth, mounting debt problems, desperate attempts of governments to fight these problems by piling up even more debt – and ultimately to the Great Recession.Kliman's conclusion is simple but shocking: short of socialist transformation, the only way to escape the ‘new normal’ of a stagnant, crisis-prone economy is to restore profitability through full-scale destruction of existing wealth, something not seen since the Depression of the 1930s.

    An effective model for doing this has existed for some time in the form of mission command and has been utilized by the U.S., Israeli, and British Armies—but with mixed success.This book examines in depth the experiences of the armed forces of each of these countries in implementing mission command, and reveals the key factors that have determined the success or failure of the implementation—factors such as the Revolution in Military Affairs (RMA), the spread of low-intensity conflicts and operations other than war, and differences in how military cultures interpret, articulate, and exercise the command function. It has significant implications for both the development of military doctrine and the training and education of tomorrow's military leaders.

    Motivated by a scholarly interest in race and whiteness studies, and by an ethical commitment to anti-racism work, contributors address a series of related questions: How does institutionalized racism in American education shape the culture of literacy and language education in the writing center? How does racism operate in the discourses of writing center scholarship/lore, and how may writing centers be unwittingly complicit in racist practices? How can they meaningfully operationalize anti-racist work? How do they persevere through the difficulty and messiness of negotiating race and racism in their daily practice? The conscientious, nuanced attention to race in this volume is meant to model what it means to be bold in engagement with these hard questions and to spur the kind of sustained, productive, multi-vocal, and challenging dialogue that, with a few significant exceptions, has been absent from the field.

    Walter D. Mignolo argues that coloniality is the darker side of Western modernity, a complex matrix of power that has been created and controlled by Western men and institutions from the Renaissance, when it was driven by Christian theology, through the late twentieth century and the dictates of neoliberalism. This cycle of coloniality is coming to an end. Two main forces are challenging Western leadership in the early twenty-first century. One of these, “dewesternization,” is an irreversible shift to the East in struggles over knowledge, economics, and politics. The second force is “decoloniality.” Mignolo explains that decoloniality requires delinking from the colonial matrix of power underlying Western modernity to imagine and build global futures in which human beings and the natural world are no longer exploited in the relentless quest for wealth accumulation.

    Adorno—affiliated through friendship, professional ties, and argument—developed an astute philosophical critique of modernity in which technological media played a key role. This book explores in depth their reflections on cinema and photography from the Weimar period up to the 1960s. Miriam Bratu Hansen brings to life an impressive archive of known and, in the case of Kracauer, less known materials and reveals surprising perspectives on canonic texts, including Benjamin’s artwork essay. Her lucid analysis extrapolates from these writings the contours of a theory of cinema and experience that speaks to questions being posed anew as moving image culture evolves in response to digital technology.

    Casting modernity as an ongoing contest between visuality and countervisuality, or “the right to look,” he explains how visuality sutures authority to power and renders the association natural. An early-nineteenth-century concept, meaning the visualization of history, visuality has been central to the legitimization of Western hegemony. Mirzoeff identifies three “complexes of visuality”—plantation slavery, imperialism, and the present-day military-industrial complex—and explains how, within each, power is made to seem self-evident through techniques of classification, separation, and aestheticization. At the same time, he shows how each complex of visuality has been countered—by the enslaved, the colonized, and opponents of war, all of whom assert autonomy from authority by claiming the right to look. Encompassing the Caribbean plantation and the Haitian revolution, anticolonialism in the South Pacific, antifascism in Italy and Algeria, and the contemporary global counterinsurgency, The Right to Look is a work of astonishing geographic, temporal, and conceptual reach.

    Often available in periodicals, lynching plays were read aloud or acted out by black church members, schoolchildren, and families. Koritha Mitchell shows that African Americans performed and read the scripts in community settings to certify to each other that lynch victims were not the isolated brutes that dominant discourses made them out to be. Instead, the play scripts often described victims as honorable heads of household being torn from model domestic units by white violence.In closely analyzing the political and spiritual uses of black theatre during the Progressive Era, Mitchell demonstrates that audiences were shown affective ties in black families, a subject often erased in mainstream images of African Americans. Examining lynching plays as archival texts that embody and reflect broad networks of sociocultural activism and exchange in the lives of black Americans, Mitchell finds that audiences were rehearsing and improvising new ways of enduring in the face of widespread racial terrorism. Images of the black soldier, lawyer, mother, and wife helped readers assure each other that they were upstanding individuals who deserved the right to participate in national culture and politics. These powerful community coping efforts helped African Americans band together and withstand the nation's rejection of them as viable citizens.

    The attempts to realize these ideals became a series of colossal failures. In Yesterday's Tomorrow, Bini Adamczak examines these catastrophes, proceeding in reverse chronological order from 1939 to 1917. Adamczak reflects on the Hitler-Stalin Pact, the Great Terror of 1937, the failure of the European Left to prevent National Socialism, Stalin's rise to power, and the bloody rebellion at Kronstadt, as she seeks a future that never happened.

    The study reminds us, first, that even among the radicalized young poets and theorists who associated themselves with the Black Arts Movement that began in the mid-1960s, the contours of black aesthetics were deeply contested and, second, that debates about the relationship between aesthetics and politics for African American artists continue into the twenty-first century. Shockley argues that a rigid notion of black aesthetics commonly circulates that is little more than a caricature of the concept. She sees the Black Aesthetic as influencing not only African American poets and their poetic production, but also, through its shaping of criteria and values, the reception of their work. Taking as its starting point the young BAM artists’ and activists’ insistence upon the interconnectedness of culture and politics, this study delineates how African American poets—in particular, Gwendolyn Brooks, Sonia Sanchez, Harryette Mullen, Anne Spencer, Ed Roberson, and Will Alexander—generate formally innovative responses to their various historical and cultural contexts.   Out of her readings, Shockley eloquently builds a case for redefining black aesthetics descriptively, to account for nearly a century of efforts by African American poets and critics to name and tackle issues of racial identity and self-determination. In the process, she resituates innovative poetry that has been dismissed, marginalized, or misread because its experiments were not “recognizably black”—or, in relation to the avant-garde tradition, because they were.

    Taken individually, the poems display a dazzling originality; together, they form an exquisite exploration of memory and longing.

    Quentin Meillassoux, author of After Finitude, continues his philosophical interrogation of the concepts of chance, contingency, infinity, and eternity through a concentrated study of Mallarm�'s poem "Un Coup de D�s," patiently deciphering its enigmatic meaning on the basis of a dazzlingly simple and lucid insight with regard to Mallarm�'s "unique Number."The decisive point of the investigation proposed by Meillassoux comes with a discovery, unsettling and yet as simple as a child's game. The Number that "can be no other" can only be revealed to us via a secret code, hidden in the "Coup de d�s" like a key that finally unlocks every one of its poetic devices. Thus is also unveiled the meaning of that siren, emerging for a lightning-flash amongst the debris of the shipwreck: as the living heart of a drama that is still unfolding.With this bold new interpretation of Mallarm�'s work, Meillassoux offers brilliant insights into modernity, poetics, secularism, and religion, and opens a new chapter in his philosophy of radical contingency.The volume contains the entire text of the "Coup de d�s" and three other poems, with new English translations.

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    Generations of theorists, however, have expunged life from their accounts, treating it as the mere output of patterns, codes, structures or systems variously defined as genetic or cultural, natural or social. Building on his classic work The Perception of the Environment, Tim Ingold sets out to restore life to where it should belong, at the heart of anthropological concern.Being Alive ranges over such themes as the vitality of materials, what it means to make things, the perception and formation of the ground, the mingling of earth and sky in the weather-world, the experiences of light, sound and feeling, the role of storytelling in the integration of knowledge, and the potential of drawing to unite observation and description.Our humanity, Ingold argues, does not come ready-made but is continually fashioned in our movements along ways of life. Starting from the idea of life as a process of wayfaring, Ingold presents a radically new understanding of movement, knowledge and description as dimensions not just of being in the world, but of being alive to what is going on there.

    

    More to the point, the field of children's literature needs such a collection."---Katherine Capshaw Smith, University of ConnecticutIn spite of the growing critical interest concerning gender and sexual nonnormativity in and around narratives written for young readers, no book-length volume on the subject has yet appeared. Over the Rainbow: Queer Children's and Young Adult Literature is the first collection of essays dedicated to LGBTQ issues in children's literature. Bringing together significant essays and introducing new work, Over the Rainbow is intended to serve both as a scholarly reference and as a textbook for students of children's studies; gender/queer studies; and related disciplines such as English, history, sociology, and education. Editors Michelle Ann Abate and Kenneth Kidd showcase important essays on the subject of LGBTQ children's and young adult literature ---including Harriet the Spy, Rainbow Boys, Little Women, the Harry Potter series, and A Separate Peace---while providing a provisional history of both the literature and the scholarship and examining the field's origins, current status, and possible future orientations.Over the Rainbow collects essays by Jes Battis, Robin Bernstein, Thomas Crisp, June Cummins, Elizabeth A. Ford, Sherrie A. Inness, Christine A. Jenkins, Vanessa Wayne Lee, Biddy Martin, Robert McRuer, Claudia Nelson, Jody Norton, Tison Pugh, Catherine Tosenberger, Eric L. Tribunella, Roberta Seelinger Trites, and Andrea Wood. These pieces will be of interest to scholars and students in the fields of children's literature, American Studies, LGBTQ and queer studies, cultural studies, and literary criticism.Cover art: Original title page of The Wonderful Wizard of Oz, by Frank L. Baum, illustrated by W. W. Denslow. New York: George M. Hill, 1900.

    In a career spanning thirty-five years and forty books, he has challenged and provoked us with writing that is decidedly unafraid of the tensions between ordinary and poetic language, and between everyday life and its adversaries. Attack of the Difficult Poems, his latest collection of essays, gathers some of his most memorably irreverent work while addressing seriously and comprehensively the state of contemporary humanities, the teaching of unconventional forms, fresh approaches to translation, the history of language media, and the connections between poetry and visual art.Applying an array of essayistic styles, Attack of the Difficult Poems ardently engages with the promise of its title. Bernstein introduces his key theme of the difficulty of poems and defends, often in comedic ways, not just difficult poetry but poetry itself. Bernstein never loses his ingenious ability to argue or his consummate attention to detail. Along the way, he offers a wide-ranging critique of literature’s place in the academy, taking on the vexed role of innovation and approaching it from the perspective of both teacher and practitioner.From blues artists to Tin Pan Alley song lyricists to Second Wave modernist poets, The Attack of the Difficult Poems sounds both a battle cry and a lament for the task of the language maker and the fate of invention.

    Post-structuralist musicologists have challenged thisbelief, advancing the view that many romantic triadic progressions exceed the reach of classical syntax and are mobilized as the result of a transgressive, anti-syntactic impulse. In Audacious Euphony, author Richard Cohn takes both of these views to task, arguing that romantic harmony operatesunder syntactic principles distinct from those that underlie classical tonality, but no less susceptible to systematic definition. Charting this alternative triadic syntax, Cohn reconceives what consonant triads are, and how they relate to one another. In doing so, he shows that major and minortriads have two distinct natures: one based on their acoustic properties, and the other on their ability to voice-lead smoothly to each other in the chromatic universe. Whereas their acoustic nature underlies the diatonic tonality of the classical tradition, their voice-leading properties areoptimized by the pan-triadic progressions characteristic of the 19th century. Audacious Euphony develops a set of inter-related maps that organize intuitions about triadic proximity as seen through the lens of voice-leading proximity, using various geometries related to the 19th-century Tonnetz.This model leads to cogent analyses both of particular compositions and of historical trends across the long nineteenth century. Essential reading for music theorists, Audacious Euphony is also a valuable resource for music historians, performers and composers.

    

    national narrations in order to secure their legal rights and standing as Natives. How they choose to navigate these demands and the implications of their choices for Native social formations are the focus of this powerful critique. Joanne Barker contends that the concepts and assumptions of cultural authenticity within Native communities potentially reproduce the very social inequalities and injustices of racism, ethnocentrism, sexism, homophobia, and fundamentalism that define U.S. nationalism and, by extension, Native oppression. She argues that until the hold of these ideologies is genuinely disrupted by Native peoples, the important projects for decolonization and self-determination defining Native movements and cultural revitalization efforts are impossible. These projects fail precisely by reinscribing notions of authenticity that are defined in U.S. nationalism to uphold relations of domination between the United States and Native peoples, as well as within Native social and interpersonal relations. Native Acts is a passionate call for Native peoples to decolonize their own concepts and projects of self-determination.

    Also included are examples of his psychoanalytical writings, such as "The Transformational Object" and "Psychic Genera," that deepen and renew interest in unconscious creative processes. Two recent essays, "Character and Interformality" and "The Wisdom of the Dream" extend his work on aesthetics and the role of form in everyday life. 　This is a collection of papers that will appeal to anyone interested in human experience and subjectivity.

    Yet our ideas and experiences—both physical and cultural—remain fundamentally patterned by the complex material interplay of brain, body, and world. With support from pioneering research in the cognitive and neurosciences, Sarah Robinson combines philosophy, poetry, and personal narrative to offer a poignant study of the many ways in which our built environment shapes us as significantly as we have shaped it. Nesting: Body, Dwelling, Mind explores how our very being is sculpted by our interactions in an environment that we ourselves have fashioned, making us our own greatest artifact.

    The nationalist and identity-based concepts of race underlying the mid-twentieth-century movements for decolonization and social change are not adequate to the tasks of critiquing the racial configurations generated by neocolonialism and contesting its inequities. Contemporary regimes of power produce racialized, gendered, and sexualized violence and labor exploitation, and they render subjects redundant and disposable by creating new, nominally nonracialized categories of privilege and stigma. The editors of Strange Affinities contend that the greatest potential for developing much-needed alternative comparative methods lies in women of color feminism, and the related intellectual tradition that Roderick A. Ferguson has called queer of color critique. Exemplified by the work of Audre Lorde, Cherríe Moraga, Barbara Smith, and the Combahee River Collective, these critiques do not presume homogeneity across racial or national groups. Instead, they offer powerful relational analyses of the racialized, gendered, and sexualized valuation and devaluation of human life.ContributorsVictor BascaraLisa Marie CachoM. Bianet Castellanos Martha Chew Sánchez Roderick A. FergusonGrace Kyungwon HongHelen H. JunKara Keeling Sanda Mayzaw Lwin Jodi Melamed Chandan Reddy Ruby C. TapiaCynthia Tolentino

    In Wild Dog Dreaming, Deborah Bird Rose explores what constitutes an ethical relationship with nonhuman others in this era of loss. She asks, Who are we, as a species? How do we fit into the Earth's systems? Amidst so much change, how do we find our way into new stories to guide us? Rose explores these questions in the form of a dialogue between science and the humanities. Drawing on her conversations with Aboriginal people, for whom questions of extinction are up-close and very personal, Rose develops a mode of exposition that is dialogical, philosophical, and open-ended.An inspiration for Rose--and a touchstone throughout her book--is the endangered dingo of Australia. The dingo is not the first animal to face extinction, but its story is particularly disturbing because the threat to its future is being actively engineered by humans. The brazenness with which the dingo is being wiped out sheds valuable, and chilling, light on the likely fate of countless other animal and plant species."People save what they love," observed Michael Soule, the great conservation biologist. We must ask whether we, as humans, are capable of loving--and therefore capable of caring for--the animals and plants that are disappearing in a cascade of extinctions. Wild Dog Dreaming engages this question, and the result is a bold account of the entangled ethics of love, contingency, and desire.

    It looks at a wide array of artistic relationships to memory association, repetition and reappearance, as well as forms of "active" forgetting. Its discussions encompass artworks from the late 1940s onward, ranging from reperformances such as Marina Abramovic's Seven Easy Pieces (embodied resurrections of decades-removed performance pieces by her contemporaries) to the inanimate trace of "memory" Robert Morris assigns to his free-form felt pieces, which "forget" in their present configurations their previous slides and falls.Contextualizing memory's role in visual theory and aesthetic politics--from Marcel Proust's optics to Bernard Stiegler's analysis of memory's "industrialization"--this collection also surveys the diversity of situations and registers in which contemporary artists explore memory. Art that engages with memory embodied in material and spatial conditions is examined beside works that reflect upon memory's effects through time, and yet others that enlist the agency of remembrance or forgetting to work through aspects of the numerous pasts by which the present is always haunted.

    Offering readings of the use of photography in the anti-lynching movement, the civil rights movement, and the black power movement, Imprisoned in a Luminous Glare focuses on key transformations in technology, society, and politics to understand the evolution of photography's deployment in capturing white oppression, black resistance, and African American life.

    Concentrating on the way in which individuals and institutions read their historical past in light of contemporary criticisms and concerns, Muppidi finds that certain methods for discussing or representing the colonized have become acceptable while others have been condemned. Both, however, can be equally colonial in intent and purpose, and the difference in their reception lies in the "processes of translation" that make one visible, the other invisible, and ultimately maintain the framework of a global colonial order.

    In clear and accessible language, Gruen provides a survey of the issues central to human-animal relations and a reasoned new perspective on current key debates in the field. She analyses and explains a range of theoretical positions and poses challenging questions that directly encourage readers to hone their ethical reasoning skills and to develop a defensible position about their own practices. Her book will be an invaluable resource for students in a wide range of disciplines including ethics, environmental studies, veterinary science, women's studies, and the emerging field of animal studies and is an engaging account of the subject for general readers with no prior background in philosophy.

    Moving beyond disciplinary and national limits, Fatima El-Tayeb explores structures of resistance, tracing a Europeanization from below in which migrant and minority communities challenge the ideology of racelessness that places them firmly outside the community of citizens.Using a notable variety of sources, from drag performances to feminist Muslim activism and Euro hip-hop, El-Tayeb draws on the largely ignored archive of vernacular culture central to resistance by minority youths to the exclusionary nationalism that casts them as threatening outcasts. At the same time, she reveals the continued effect of Europe’s suppressed colonial history on the representation of Muslim minorities as the illiberal Other of progressive Europe.Presenting a sharp analysis of the challenges facing a united Europe seen by many as a model for twenty-first-century postnational societies, El-Tayeb combines theoretical influences from both sides of the Atlantic to lay bare how Europeans of color are integral to the continent’s past, present, and, inevitably, its future.

    Challenging characterizations of Darwin’s work as a form of genetic determinism, Grosz shows that his writing reveals an insistence on the difference between natural selection and sexual selection, the principles that regulate survival and attractiveness, respectively. Sexual selection complicates natural selection by introducing aesthetic factors and the expression of individual will, desire, or pleasure. Grosz explores how Darwin’s theory of sexual selection transforms philosophy, our understanding of humanity in its male and female forms, our ideas of political relations, and our concepts of art. Connecting the naturalist’s work to the writings of Bergson, Deleuze, and Irigaray, she outlines a postmodern Darwinism that understands all of life as forms of competing and coordinating modes of openness. Although feminists have been suspicious of the concepts of nature and biology central to Darwin’s work, Grosz proposes that his writings are a rich resource for developing a more politicized, radical, and far-reaching feminist understanding of matter, nature, biology, time, and becoming.

    As a photographer and the Walker Evans Professor of Photography at the Yale University School of Art, Papageorge has shaped the work and thought of generations of artist-photographers, and, through his critical writings--some of which have gained a cult following through online postings--he has earned a reputation as an unusually eloquent and illuminating guide to the work of many of the most important figures in twentieth-century photography. Among the artists Papageorge discusses in this essential volume are Eugene Atget, Brassai, Robert Frank (with Walker Evans), Robert Adams and his close friend Garry Winogrand. The book also includes texts that examine the more general questions of photography's relationship to poetry, and how the evolution of the medium's early technologies led to the twentieth- century creation of the artist-photographer. Among the previously unpublished pieces in Core Curriculum are an unfinished poem written in response to Susan Sontag's On Photography, a profile of Josef Koudelka and a commencement speech delivered at the Yale School of Art in 2004. Core Curriculum also includes a number of interviews with this esteemed photographer/teacher/ author, ranging in topic from his own photographic work and background in poetry to his energetic observations on the art of photography.Tod Papageorge (born 1940) earned his BA in English literature from the University of New Hampshire in 1962, where he began taking photographs during his last semester. He is the recipient of two Guggenheim Fellowships and two National Endowment for the Arts Fellowships. In 1979, Papageorge was named Yale University's Walker Evans Professor of Photography and director of graduate studies in photography, both positions he continues to hold today.

    During his research, Tim Choy became increasingly interested in the power of the notion of specificity. While documenting the expert and lay production of Hong Kong’s biological, cultural, and political specificities, he began comparing the logics and narrative forms that made different types of specificity—such as species, culture, locality, and state autonomy—possible and meaningful. He came to understand these logics and forms as “ecologies of comparison,” conceptual practices through which an event or form of life comes to matter in environmentalist and other political terms. Choy’s ethnography is about environmentalism, Hong Kong, and the ways that we think about environmentalism in Hong Kong and other places. It is also about how politics, freedom, culture, expertise, and other concepts figure in comparison-based knowledge practices.

    Turning to contemporary works by both well- and little-known postcolonial writers, the diverse contributions highlight the literary imagination as crucial to representing what Eduoard Glissant calls the aesthetics of the earth. The essays are organized around agroup of thematic concerns that engage culture and cultivation, arboriculture and deforestation, the lives of animals, and the relationship between the military and the tourist industry. With chapters that address works by J. M. Coetzee, Kiran Desai, Derek Walcott, Alejo Carpentier, Zakes Mda, andmany others, Postcolonial Ecologies makes a remarkable contribution to rethinking the role of the humanities in addressing global environmental issues.

    The book comprises a string of dramatic and evocative locales, each embodying specific artistic tendencies and together spanning the modern era--from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarme to the Folies-Bergere, attend a lecture by Emerson, and visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Ranciere uses these sites and events--some famous, others forgotten--to ask what becomes art and what comes of it. He shows how a regime of artistic perception and interpretation was constituted and transformed by erasing the distinctions between the different arts along with the borders separating them from ordinary experience.This incisive study provides a history of artistic modernity far removed from conventional understandings of modernism.

    au Musee des beaux-arts de Lyon du 12 octobre 2007 au 14 janvier 2008" --P. [6].

    In addition, empathy is seen as having a central role in aesthetics, in the understanding of our engagement with works of art and with fictional characters. A fuller understanding of empathy is now offered by the interaction of research in science and the humanities. Empathy: Philosophical and Psychological Perspectives draws together nineteen original chapters by leading researchers across several disciplines, together with an extensive Introduction by the editors. The individual chapters reveal how important it is, in a wide range of fields of enquiry, to bring to bear an understanding of the role of empathy in its various guises. This volume offers the ideal starting-point for the exploration of this intriguing aspect of human life.

    Adorno (1903-69) was one of the foremost philosophers and social theorists of the post-war period. Crucial to the development of Critical Theory, his highly original and distinctive but often difficult writings not only advance questions of fundamental philosophical significance, but provide deep-reaching analyses of literature, art, music sociology and political theory.In this comprehensive introduction, Brian O'Connor explains Adorno's philosophy for those coming to his work for the first time, through original new lines of interpretation. Beginning with an overview of Adorno's life and key philosophical views and influences, which contextualizes the intellectual environment in which he worked, O'Connor assesses the central elements of Adorno's philosophy.He carefully examines Adorno's distinctive style of analysis and shows how much of his work is a critical response to the various forms of identity thinking that have underpinned the destructive forces of modernity. He goes on to discuss the main areas of Adorno's philosophy: social theory, the philosophy of experience, metaphysics, morality and aesthetics; setting out detailed accounts of Adorno's notions of the dialectic of Enlightenment, reification, totality, mediation, identity, nonidentity, experience, negative dialectics, immanence, freedom, autonomy, imitation and autonomy in art. The final chapter considers Adorno's philosophical legacy and importance today.Including a chronology, glossary, chapter summaries, and suggestions for further reading, Adorno is an ideal introduction to this demanding but important thinker, and essential reading for students of philosophy, literature, sociology and cultural studies.

    This book takes its title from the first essay, a startlingly original interpretation of Proust. By way of Neoplatonism, Buddhism, and the work of Melanie Klein, Sedgwick establishes the sense of refreshment and surprise that the author of the Recherche affords his readers. Proust also figures in pieces on the poetry of C. P. Cavafy, object relations, affect theory, and Sedgwick’s textile art practices. More explicitly connected to her role as a pioneering queer theorist are an exuberant attack against reactionary refusals of the work of Guy Hocquenghem and talks in which she lays out her central ideas about sexuality and her concerns about the direction of US queer theory. Sedgwick lived for more than a dozen years with a diagnosis of terminal cancer; its implications informed her later writing and thinking, as well as her spiritual and artistic practices. In the book’s final and most personal essay, she reflects on the realization of her impending death. Featuring thirty-seven color images of her art, The Weather in Proust offers a comprehensive view of Sedgwick’s later work, underscoring its diversity and coherence.

    It explores a range of mobile media practices from interface design to maps, AR/VR, mobile games, performances that use mobile devices and mobile storytelling projects. Throughout, Farman provides readers with a rich theoretical framework to understand the ever-transforming landscape of mobile media and how they shape our bodily practices in the spaces we move through. This fully updated second edition features updated examples throughout reflecting the shifts in mobile technology.This is the ideal text for those studying mobile media, social media, digital media, and mobile storytelling.

    The cover art was drawn for this manuscript by the artist Nancy Blum, and this first edition is printed with two different cover designs.

    Novels of youth by Oscar Wilde, Olive Schreiner, Rudyard Kipling, Joseph Conrad, H.G. Wells, James Joyce, Virginia Woolf, Jean Rhys, and Elizabeth Bowen disrupt the inherited conventions of the bildungsroman in order to criticize bourgeois values and to reinvent the biographical plot, but also to explore the contradictions inherent in mainstream developmental discourses of self, nation, and empire. The intertwined tropes offrozen youth and uneven development, as motifs of failed progress, play a crucial role in the emergence of dilatory modernist style and in the reimagination of colonial space at the fin-de-si�cle. The genre-bending logic of uneven development - never wholly absent from the coming-of-age novel --takes on a new and more intense form in modernism as it fixes its broken allegory to the problem of colonial development. In novels of unseasonable youth, the nineteenth-century idea of world progress comes up against stubborn signs of underdevelopment and uneven development, just at the same momentthat post-Darwinian racial sciences and quasi-Freudian sexological discourses lend greater influence to the idea that certain forms of human difference cannot be mitigated by civilizing or developmental forces. In this historical context, the temporal meaning and social vocation of the bildungsromanundergo a comprehensive shift, as the history of the novel indexes the gradual displacement of historical-progressive thinking by anthropological-structural thinking in the Age of Empire.

    Drawing on ethnographic research with Dominicans in New York City, Carlos Ulises Decena explains that while the men who shared their life stories with him may self-identify as gay, they are not the liberated figures of traditional gay migration narratives. Decena contends that in migrating to Washington Heights, a Dominican enclave in New York, these men moved from one site to another within an increasingly transnational Dominican society. Many of them migrated and survived through the resources of their families and broader communities. Explicit acknowledgment or discussion of their homosexuality might rupture these crucial social and familial bonds. Yet some of Decena’s informants were sure that their sexuality was tacitly understood by their family members or others close to them. Analyzing their recollections about migration, settlement, masculinity, sex, and return trips to the Dominican Republic, Decena describes how the men at the center of Tacit Subjects contest, reproduce, and reformulate Dominican identity in New York. Their stories reveal how differences in class, race, and education shape their relations with fellow Dominicans. They also offer a view of “gay New York” that foregrounds the struggles for respect, belonging, and survival within a particular immigrant community.

    Each essay investigates a single term (e.g., feminism, interdisciplinarity, intersectionality) by asking how it has come to be understood and mobilized in Women’s and Gender Studies and then explicates the roles it plays in both producing and shutting down possible versions of the field. The goal of the book is to trace and expose critical paradoxes, ironies, and contradictions embedded in the language of Women’s and Gender Studies—from its high theory to its casual conversations—that relies on these key terms. Rethinking Women’s and Gender Studies offers a fresh approach to structuring Feminist Theory, Senior Capstone, and introductory graduate-level courses in Women’s and Gender Studies.

    She is also among the most wide ranging, with books on Zionism, feminism, Sylvia Plath, children’s fiction, and psychoanalysis. During the past decade, through talks and pieces that Rose has contributed to the London Review of Books, the Guardian, and other publications, she has played a vital role in public debate about the policies and human-rights record of Israel in its relation to the Palestinians. Representing the entire spectrum of her writing, The Jacqueline Rose Reader brings together essays, reviews, and book excerpts, as well as an extract from her novel. In the introduction, the editors provide a profound overview of her intellectual trajectory, highlighting themes that unify her diverse work, particularly her commitment to psychoanalytic theory as a uniquely productive way of analyzing literature, culture, politics, and society. Including extensive critical commentary, and a candid interview with Rose, this anthology is an indispensable introduction for those unfamiliar with Jacqueline Rose’s remarkably original work, and an invaluable resource for those well acquainted with her critical acumen.

    Yet no study has considered how writers from the so-called Orient approach this idea. Awide-ranging survey of the vast and diverse world of Anglophone Arab literature, Immigrant Narratives examines the complex ways in which Arab �migr�s contend with, resist, and participate in the problems of Orientalism.Hassan's account begins in the early twentieth century, as he considers the pioneering Lebanese American writers, Ameen Rihani and Kahlil Gibran. The former's seminal novel, The Book of Khalid sought to fuse Arabic and European literary traditions in search of a civilizational synthesis, whereas thelatter found success by mixing Hindu, Christian, mystical, and English Romantic ideas into a popular spiritualism. Hassan then considers Arab immigrant life-writing, ranging from autobiographies by George Haddad and Abraham Rihbany to memoirs of exile by the Egyptian-born Leila Ahmed andPalestinian refugees like Fawaz Turki and Edward Said. Hassan considers issues of representation in looking to how Arab immigrant writers like Ramzi Salti and Rabih Alameddine use homosexuality to reflect on Arab typecasting. Ahdaf Soueif's fiction reflects her growing awareness of the politics ofreception of Anglophone Arab women writers while Leila Aboulela's fiction, inspired by an immigrant Islamic perspective, depicts the predicament of the Muslim minority in Britain.Drawing upon postcolonial, translation, and minority discourse theory, Immigrant Narratives investigates how key writers have described their immigrant experiences, acting as mediators and interpreters between cultures, and how they have forged new identities in their adopted countries.

    Safran provides a masterful and engaging overview of this uniquely important family of theories and approaches to psychotherapy, developed and refined over more than a century by key theorists, researchers and clinicians around the world. He also examines the origins of psychoanalysis as a new way of looking at inner life, and discusses its role as one of the more influential intellectual developments of the 20th century. This essential primer to psychoanalytic approaches, amply illustrated with case examples, is perfect for students and trainees interested in learning about psychoanalysis, as well as seasoned clinicians interested in keeping up with state of the art developments in theory, practice and research.

    The first book to address the scope and methods of this new cross-disciplinary area of research for archaeologistsOffers a completely up-to-date overview of the latest research in this innovative subjectGuides students who wish to become biomolecular archaeologists through the complexities of both the scientific methods and archaeological goals.Provides an essential component to undergraduate and graduate archaeological research

    Writing the Love of Boys looks at the response to this mindset during the critical era of cultural ferment between the two world wars as a number of Japanese writers challenged the idea of love and desire between men as pathological.Jeffrey Angles focuses on key writers, examining how they experimented with new language, genres, and ideas to find fresh ways to represent love and desire between men. He traces the personal and literary relationships between contemporaries such as the poet Murayama Kaita, the mystery writers Edogawa Ranpo and Hamao Shiro, the anthropologist Iwata Jun’ichi, and the avant-garde innovator Inagaki Taruho.Writing the Love of Boys shows how these authors interjected the subject of male–male desire into discussions of modern art, aesthetics, and perversity. It also explores the impact of their efforts on contemporary Japanese culture, including the development of the tropes of male homoeroticism that recur so often in Japanese girls’ manga about bishonen love.

    Each turning point and breakthrough of modernism and postmodernism is explored in depth, as are the frequent anti-modernist reactions that proposed alternative visions of art and the world. Art Since 1900 introduces students to the key theoretical approaches to modern and contemporary art in a way that enables them to comprehend the many “voices” of art in the twentieth and twenty-first centuries.

    Few have taken her seriously as a political thinker, even though in her lifetime she was a vigorous public intellectual within a global network of progressive politics. Engaging Goldman as a political thinker allows us to rethink the common dualism between theory and practice, scrutinize stereotypes of anarchism by placing Goldman within a fuller historical context, recognize the remarkable contributions of anarchism in creating public life, and open up contemporary politics to the possibilities of transformative feminism.

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    In this concise book, Jane Gallop revitalizes this hackneyed concept by considering not only the abstract theoretical death of the author but also the writer's literal death, as well as other authorial "deaths" such as obsolescence. Through bravura close readings of the influential literary theorists Roland Barthes, Jacques Derrida, Eve Kosofsky Sedgwick, and Gayatri Chakravorty Spivak, she shows that the death of the author is best understood as a relation to temporality, not only for the reader but especially for the writer. Gallop does not just approach the death of the author from the reader's perspective; she also reflects at length on how impending death haunts the writer. By connecting an author's theoretical, literal, and metaphoric deaths, she enables us to take a fuller measure of the moving and unsettling effects of the deaths of the author on readers and writers, and on reading and writing.

    This book discusses one of his most influential concepts: governmentality. Reconstructing its emergence in Foucault's analytics of power, the book explores the theoretical strengths the concept of governmentality offers for political analysis and critique. It highlights the intimate link between neoliberal rationalities and the problem of biopolitics including issues around genetic and reproductive technologies. This book is a useful introduction to Foucault's work on power and governmentality suitable for experts and students alike

    Accordingly, Barber's argument ranges across matters proper to philosophy, religious studies, cultural studies, theology, and anthropology. It is able to do so in a coherent manner as a result of its overarching concern with the concept of diaspora. It is the concept of diaspora, Barber argues, that allows us to think in genuinely novel ways about the relationship between particularity and universality, and as a consequence about Christianity, religion, and secularism. Endorsements: "Writing with extraordinary philosophical imagination, Barber provides an account of Christianity that will challenge Christian and non-Christian alike. Barber will soon be recognized as an intellectual force whose work cannot be ignored." -Stanley Hauerwas Duke University "What a mysterious meditation unfolds here, oscillating subtly 'between namelessness and excessive signification.' May its illumining construction of diaspora as a composition of differences in their 'intermattering' refresh current conversations about religion, Christianity, and the secular; about immanence and negative theology; about the co-constitution of beings beyond preexisting identities and the construction of value." -Catherine Keller Drew University "What are we to do, asks Daniel Barber, with Christianity? With our unavoidable inheritance of its tradition? Barber's thoughtful, albeit astonishing, answer is that we must formulate, finally, a concept of Christianity, gather it out of its disseminated state, from the originary diaspora Christianity has yet to achieve. Whether Christianity, 'actually existing Christianity, ' retains the potential for such a challenge appears nowhere more in doubt-and nowhere more necessary-than in this unflinching meditation." -Gil Anidjar Columbia University "This bold Spinozist-Deleuzian (and original) argument for diaspora as that which expresses the profound link between Christianity and differentiality (discontinuity) is simultaneously an extraordinarily nuanced and lucid critique of Pauline thought, of the secular, and of the continuity between Judaism and Christianity. It marks the emergence of a major new voice in the philosophy of religion." -Eleanor Kaufman University of California, Los Angeles About the Contributor(s): Daniel Colucciello Barber teaches in the Department of Philosophy and Religious Studies at Marymount Manhattan College, in New York City.

    Drawing on sources ranging from Plato and Marx to Freud, Heidegger and Derrida, he develops a highly original account of technology as grammatology, as a technics of writing that constitutes our experience of time, memory and desire, even of life itself. Society and our place within it are shaped by technical reproduction which can both expand and restrict the horizons and possibilities of human agency and experience.In the three volumes of Disbelief and Discredit Stiegler argues that this process of technical reproduction has become dangerously divorced from its role in the constitution of human experience. Radically challenging the optimistic view of new technologies as facilitators of learning and progress, he argues new marketing techniques shortcircuit thought and disenfranchise consumers, programming them to seek short-term gratification. These practices of 'libidinal economics' have profound consequences for nature of human desire and they underpin the social and psychological malaise of contemporaty industrial society.In this opening volume Stiegler argues that the industrial model implemented since the beginning of the twentieth century has become obsolete, leading capitalist democracies to an impasse. A sign of this impasse and of the decadence to which it leads is the banalization of consumers who become ensnared in a perpetual cycle of consumption. This is the new proletarianization of the technologically infused, hyper-industrial capitalism of today. It produces a society cut off from its past and its future, stultifying human development and turning democracy into a farce in which disbelief and discredit inevitably arise.

    It is an essential text for anyone who wants to learn how use performance to both challenge and change.

    Both in style and in content, it is conceived as a book that aims to question, subvert and overflow authoritarian divisions between the personal and political; between sexual desires categorised as heterosexual or homosexual; between seemingly mutually exclusive activism and scholarship; between forms of expression such as poetry and prose; and between disciplinary categories of knowledge. Anarchism & Sexuality seeks to achieve this by suggesting connections between ethics, relationships and power, three themes that run throughout. The key objectives of the book are: to bring fresh anarchist perspectives to debates around sexuality; to make a queer and feminist intervention within the most recent wave of anarchist scholarship; and to make a queerly anarchist contribution to social justice literature, policy and practice. By mingling prose and poetry, theory and autobiography, it constitutes a gathering place to explore the interplay between sexual and social transformation.This book will be of use to those interested in anarchist movements, cultural studies, critical legal theory, gender studies, and queer and sexuality studies.

    

    The chapters help therapists think creatively about these types of patients who are coming to therapy more frequently than ever, and to see the effects of treatment. The problems that arise in therapy are explored in essays about dissociation, self-regulation, self-destructive behavior, enactment, and other clinical issues. The first half of the book addresses specific problems associated with patients who have eating disorders. The editors explore the patient's conflicts, affect regulation, transference, behavior, as well as the countertransference issues that inevitably arise in therapy. The second half broadens the scope and addresses a spectrum of addictions and associated issues such as creativity, sexuality and the transference.

    From an anthropological perspective, Faubion argues that Foucault's specification of the analytical parameters of this domain is the most productive point of departure in conceptualizing its distinctive features. He further argues that Foucault's framework is in need of substantial revision to be of genuinely anthropological scope. In making this revision, Faubion illustrates his program with two extended case studies: one of a Portuguese marquis and the other of a dual subject made up of the author and a millenarian prophetess. The result is a conceptual apparatus that is able to accommodate ethical pluralism and yield an account of the limits of ethical variation, providing a novel resolution of the problem of relativism that has haunted anthropological inquiry into ethics since its inception.

    Photographic Memory: The Album in the Age of Photography traces the rise of the album from the turn of last century to the present day, showcasing some of the most important examples in the history of the medium, as collected by the Library of Congress. The book includes albums by acclaimed photographers and filmmakers, among them Walker Evans, Danny Lyon, Holland Day, Jim Goldberg, Dorothea Lange, Duane Michals, Leni Riefenstahl and W. Eugene Smith, as well as lesser-known but equally significant albums. Each album is beautifully reproduced over numerous spreads with an accompanying detailed explanatory text. An insightful history of the album format, as well as an informative essay about caring for and restoring albums are included. At a time when the physical collection of photographs is becoming increasingly immaterial through the ascent of digital publishing, and at a time in which radical shifts have occurred in the status of handmade artists' objects, Photographic Memory is a comprehensive illustrated history of a form of presentation that became something of an art in itself.

    But according to Ben Saunders, the appeal of the superhero is fundamentally metaphysical - even spiritual - in nature. In chapter-length analyses of the early comic book adventures of Superman, Wonder Woman, Spider-Man, and Iron-Man, Saunders explores a number of complex philosophical and theological issues, including: the problem of evil; the will-to-power; the tension between intimacy and vulnerability; and the challenge of love, in the face of mortality. He concludes that comic book fantasies of the superhuman ironically reveal more than we might care to admit about our human limitations, even as they expose the falsehood of the characteristically modern opposition between religion and science. Clearly and passionately written, this insightful and at times exhilarating book should delight all readers who believe in the redemptive capacity of the imagination, regardless of whether they consider themselves comic book fans.

    Her conception of a radical ethics and aesthetics could be characterized as a new poetics of species, forcing a rethinking of the body's significance, both human and animal. Exploring the "logic of flesh" and the use of the body to mark species identity, Anat Pick reimagines a poetics that begins with the vulnerability of bodies, not the omnipotence of thought. Pick proposes a "creaturely" approach based on the shared embodiedness of humans and animals and a postsecular perspective on human-animal relations. She turns to literature, film, and other cultural texts, challenging the familiar inventory of the human: consciousness, language, morality, and dignity. Reintroducing Weil's elaboration of such themes as witnessing, commemoration, and collective memory, Pick identifies the animal within all humans, emphasizing the corporeal and its issues of power and freedom. In her poetics of the creaturely, powerlessness is the point at which aesthetic and ethical thinking must begin.

    After leading a failed struggle of the Left Opposition against the policies and rise of Joseph Stalin in the 1920s and the increasing role of bureaucracy in the Soviet Union, Trotsky was successively removed from power, expelled from the Communist Party, deported from the Soviet Union and assassinated on Stalin's orders. An early advocate of Red Army intervention against European fascism, Trotsky also opposed Stalin's non-aggression pact with Adolf Hitler in the late 1930s.As the head of the Fourth International, Trotsky continued in exile to oppose the Stalinist bureaucracy in the Soviet Union, and was eventually assassinated in Mexico, by Ramón Mercader, a Soviet agent. Trotsky's ideas thus form the basis of Trotskyism, a major school of Marxist thought that is opposed to the theories of Stalinism. He was one of the few Soviet political figures who was never rehabilitated by the government of Mikhail Gorbachev. Trotsky's conception of Permanent Revolution is based on his understanding, drawing on the work of the founder of Russian Marxism Georgy Plekhanov, that in 'backward' countries the tasks of the Bourgeois Democratic Revolution could not be achieved by the bourgeoisie itself. This conception was first developed by Trotsky in collaboration with Alexander Parvus in late 1904–1905. The relevant articles were later collected in Trotsky's books 1905 and in Permanent Revolution, which also contains his essay "Results and Prospects". First publication of Results & Prospects was in St. Petersburg in 1906, shortly after the 1905 first Russian workers’ revolution, lead in large part by Trotsky himself. The first English translation was published by the Communist International in 1921. This edition of Trotsky’s Results and Prospects is specially formatted with a Table of Contents.

    In new essays and influential previously published pieces, Latino scholars based in American studies, ethnic studies, history, performance studies, and sociology consider gay Latino scholarly and cultural work in relation to mainstream gay, lesbian, and queer academic discourses and the broader field of Chicano and Latino studies. They also critique cultural explanations of gay Latino sexual identity and behavior, examine artistic representations of queer Latinidad, and celebrate the place of dance in gay Latino culture. Designed to stimulate dialogue, the collection pairs each essay with a critical response by a prominent Latino/a or Chicana/o scholar. Terms such as gay, identity, queer, and visibility are contested throughout the volume; the significance of these debates is often brought to the fore in the commentaries. The essays in Gay Latino Studies complement and overlap with the groundbreaking work of lesbians of color and critical race theorists, as well as queer theorists and gay and lesbian studies scholars. Taken together, they offer much-needed insight into the lives and perspectives of gay, bisexual, and queer Latinos, and they renew attention to the politics of identity and coalition.Contributors. Tomás Almaguer, Luz Calvo, Lionel Cantú,, Daniel Contreras, Catriona Rueda Esquibel, Ramón García, Ramón A. Gutiérrez, Michael Hames-García, Lawrence La Fountain-Stokes, María Lugones, Ernesto J. Martínez, Paula M. L. Moya, José Esteban Muñoz, Frances Negrón-Muntaner, Ricardo L. Ortiz, Daniel Enrique Pérez, Ramón H. Rivera-Servera, Richard T. Rodríguez, David Román, Horacio N. Roque Ramírez, Antonio Viego

    This volume collects his recent work in several areas: severe personality disorders, couples in conflict, and religious experience. In each area, he explores the relationship between the psychoanalytic, clinical psychiatric, and neurobiological approaches, yielding insights and analysis that are compelling, thought-provoking, and at times startling in their penetrating brilliance. In addition, the book addresses the challenges that psychoanalysis faces in the current medical environment, and the need to strengthen its ties with academic institutions.Beautifully written, the book is designed to both provoke questions and provide enlightenment on a variety of critical issues within psychotherapy. Specifically, the volume: - Explores new approaches to diagnosis and new psychotherapeutic techniques to treat the most severe personality disorders, particularly severe narcissistic psychopathology, based on new research findings;- Relates psychoanalytic theory to neurobiological findings by illuminating the influences of neurobiological structures and intrapsychic conflicts on the development of the personality;- Examines the psychoanalytic and neurobiological underpinnings of sexual love, from the organization of brain structures and neurotransmitters to the overall systems of erotic activation, attachment and bonding. This systematic approach provides insight into the nature of passionate love and the psychodynamic features of the love relationship; - Addresses psychodynamic factors in the religious experience and the search for universal ethical values, and explores the crucial function of religious experience in dealing with the ideological challenges of social life; and- Identifies the serious problems facing psychoanalytic education, institutions, and the profession of psychoanalysis, and proposes solutions to energize the field and increase its contributions to scientific research and progress.In The Inseparable Nature of Love and Aggression: Clinical and Theoretical Perspectives, Kernberg demonstrates his belief that the collaboration of psychoanalysis and neurobiology has the potential to significantly advance our understanding of the human mind. The full spectrum of mental health clinicians, as well as educated general readers, will find this to be a work of creativity and substance.

    With three key texts from the 1970s at the center of her discussion-Marcia K. Lieberman's "Some Day My Prince Will Come," Bruno Bettelheim's The Uses of Enchantment, and Sandra Gilbert and Susan Gubar's The Madwoman in the Attic-Joosen connects the critical views expressed in these feminist and psychoanalytic interpretations with fictional fairy-tale retellings and illustrations that have been published in Dutch, English, and German since the 1970s. While readers may not automatically connect fairy-tale retellings and criticism, Joosen argues that they represent a similar conviction to understand, interpret, criticize, and experiment with the original tale. Moving through her three critical focus texts in chronological order, Joosen addresses fairy-tale retellings in prose, poetry, and pictures, including revisions of "Snow White," "Cinderella," "Sleeping Beauty," "Hansel and Gretel," "Little Red Riding Hood," and "Beauty and the Beast." Authors and illustrators whose work is discussed include Paul Biegel, Anthony Browne, Gillian Cross, Emma Donoghue, Iring Fetscher, Ad�le Geras, Otto Gmelin, Wim Hofman, Anne Provoost, Anne Sexton, Barbara Walker, and Jane Yolen. Joosen argues that retellings and criticism participate in a continuous and dynamic dialogue about the traditional fairy tale, but on different terms. Critical and Creative Perspectives on Fairy Tales offers many insights into the workings of fiction and criticism that will appeal to fairy-tale scholars, literature scholars, and general readers interested in intertextuality and fairy tales.

    Countering ideas of the philosopher as a dogmatic, absolutist, or even mystical thinker enthralled by the force of the event as a radical break, Bruno Bosteels reveals Badiou’s deep and ongoing investment in the dialectic. Bosteels draws on all of Badiou’s writings, from the philosopher’s student days in the 1960s to the present, as well as on Badiou’s exchanges with other thinkers, from his avowed “masters” Louis Althusser and Jacques Lacan, to interlocutors including Gilles Deleuze, Slavoj Žižek, Daniel Bensaïd, Jacques Derrida, Ernesto Laclau, and Judith Butler. Bosteels tracks the philosopher’s political activities from the events of May 1968 through his embrace of Maoism and the work he has done since the 1980s, helping to mobilize France’s illegal immigrants or sans-papiers. Ultimately, Bosteels argues for understanding Badiou’s thought as a revival of dialectical materialism, and he illuminates the philosopher’s understanding of the task of theory: to define a conceptual space for thinking emancipatory politics in the present.

    It uses a common data set and utilizes various theoretical perspectives through which to view the data. It challenges qualitative researchers to use theory to accomplish a rigorous, analytic reading of qualitative data. Plugging in the theory and the data produces a variety of readings applying various theorists and their concepts, including:Derrida - DeconstructionSpivak - Postcolonial MarginalityFoucault - Power/KnowledgeButler - PerformativityDeleuze - DesireBarad - Material Intra-activity Thinking With Theory In Qualitative Research pushes against traditional qualitative data analysis such as mechanistic coding, reducing data to themes, and writing up transparent narratives. These do little to critique the complexities of social life; such simplistic approaches preclude dense and multi-layered treatment of data. It shows that thinking with theory pushes research and data and theory to its exhaustion in order to produce knowledge differently. By refusing a closed system for fixed meaning, a new analytic is engaged to keep meaning on the move. The result is an extension of thought beyond an easy sense.Special features of the book include schematic cues to help guide the reader through what might be new theoretical terrain, interludes that explain the possibilities of thinking with a particular concept and theorist and detailed chapters that plug the same data set into a specific concept. This vital tool will help researchers understand and fully utilize their powers of data analysis and will prove invaluable to both students and experienced researchers across all of the social sciences.

    Freud in Oz turns the tables, suggesting that psychoanalysts owe a significant and largely unacknowledged debt to books ostensibly written for children. In fact, Kenneth B. Kidd argues, children’s literature and psychoanalysis have influenced and interacted with each other since Freud published his first case studies.In Freud in Oz, Kidd shows how psychoanalysis developed in part through its engagement with children’s literature, which it used to articulate and dramatize its themes and methods, turning first to folklore and fairy tales, then to materials from psychoanalysis of children, and thence to children’s literary texts, especially such classic fantasies as Peter Pan and Alice’s Adventures in Wonderland. He traces how children’s literature, and critical response to it, aided the popularization of psychoanalytic theory. With increasing acceptance of psychoanalysis came two new genres of children’s literature—known today as picture books and young adult novels—that were frequently fashioned as psychological in their forms and functions.Freud in Oz offers a history of reigning theories in the study of children’s literature and psychoanalysis, providing fresh insights on a diversity of topics, including the view that Maurice Sendak and Bruno Bettelheim can be thought of as rivals, that Sendak’s makeover of monstrosity helped lead to the likes of the Muppets, and that “Poohology” is its own kind of literary criticism—serving up Winnie the Pooh as the poster bear for theorists of widely varying stripes.

    Rushdie's magic realism, in fact, lies at the heart of his engagement with the post/colonial.In a departure from conventional descriptions of magic realism-based primarily on the Latin-American tradition-Kluwick here proposes an alternative definition, allowing for a more accurate description of the form. She argues that it is disharmony, rather than harmony, that is decisive: that the incompatibility of the realist and the supernatural needs to be recognized as a driving force in Rushdie's fiction.In its rigorous analysis of this Rushdian magic realism, this book considers the entire corpus-Midnight's Children, Shame, The Satanic Verses, The Moor's Last Sigh, The Ground Beneath Her Feet, Shalimar the Clown, and The Enchantress of Florence. This study is the first of its kind to do so.

    This coursebook is a lively introduction to the study of literature in English at IGCSE level, encouraging both the enjoyment of literature and rigorous academic study. It provides a comprehensive overview of the various components of the Cambridge IGCSE Literature in English syllabus (0486 and 0476). In keeping with the spirit of the syllabus, the book stresses the importance of informed personal responses that arise from close textual study. It contains a range of stimulating literary material from around the world, including extracts from plays and prose fiction, as well as complete poems.

    His writings provide us with the necessary link connecting the wisdom of Kabbalah to our human experience. If not for these essays, his father’s efforts to disclose the wisdom of Kabbalah would be in vain.

    Can the Frankfurt School's critical frameworks be used to address ecological issues, or do environmental conflicts remain part of the "failed promise" of this group? Critical Ecologies aims to redeem the theories of major Frankfurt thinkers--Theodor Adorno, Max Horkheimer, and Herbert Marcuse, among others--by applying them to contemporary environmental crises.Critical Ecologies argues that sustainability and critical social theory have many similar goals, including resistance to different forms of domination. Like the Frankfurt School itself, the essays in this volume reflect a spirit of interdisciplinarity and draw attention to intersections between environmental, socio-political, and philosophical issues. Offering textual analyses by leading scholars in both critical theory and environmental politics, Critical Ecologies underscores the continued relevance of the Frankfurt School's ideas for addressing contemporary issues.

    These connections and divisions have given rise to a diverse body of literature that explores American nature, ranging from travel accounts of seventeenth-century Puritan colonists to magazine articles by twenty-first-century enthusiasts of extreme sports. Using pivotal American writings to determine both what literature can tell us about rivers and, conversely, how rivers help us think about the nature of literature, The Meaning of Rivers introduces readers to the rich world of flowing water and some of the different ways in which American writers have used rivers to understand the world through which these waters flow.      Embracing a hybrid, essayistic form—part literary theory, part cultural history, and part fieldwork—The Meaning of Rivers connects the humanities to other disciplines and scholarly work to the land. Whether developing a theory of palindromes or reading works of American literature as varied as Henry David Thoreau's A Week on the Concord and Merrimack Rivers and James Dickey’s Deliverance, McMillin urges readers toward a transcendental retracing of their own interpretive encounters.      The nature of texts and the nature of “nature” require diverse and versatile interpretation; interpretation requires not only depth and concentration but also imaginative thinking, broad-mindedness, and engaged connection-making. By taking us upstream as well as down, McMillin draws attention to the potential of rivers for improving our sense of place and time.

    The old myths of creation and creators – the hallowed labors and privileged agencies of demiurges and prime movers, of Biblical world-makers and self-fashioning artist-geniuses – are back underway, producing effects, circulating appeals. Much as the Catholic Church dresses the old creationism in the new gowns of ‘intelligent design’, the Creative Industries sound the clarion call to the Cultural Entrepreneurs. In the hype of the ‘creative class’ and the high flights of the digital bohemians, the renaissance of ‘the creatives’ is visibly enacted. The essays collected in this book analyze this complex resurgence of creation myths and formulate a contemporary critique of creativity.

    The book considers poems that challenge traditional poetic forms and in doing so trouble normative boundaries of sexuality, subjectivity, gender, and citizenship. At the heart of each essay is a concern with the "politics of form," the ways that poetry has been enlisted in the constitution--and critique--of community. Davidson speculates on the importance of developing cultural poetics as an antidote to the personalist and expressivist treatment of postwar poetry. A comprehensive and versatile collection, On the Outskirts of Form places modern and contemporary poetics in a cultural context to reconsider the role of cultural studies and globalization in poetry.

    Naming this body of fiction Enlightenment Orientalism, he poses a range of urgent questions that uncovers the interdependence of Oriental tales and domestic fiction, thereby challenging standard scholarly narratives about the rise of the novel.More than mere exoticism, Oriental tales fascinated ordinary readers as well as intellectuals, taking the fancy of philosophers such as Voltaire, Montesquieu, and Diderot in France, and writers such as Defoe, Swift, and Goldsmith in Britain. Aravamudan shows that Enlightenment Orientalism was a significant movement that criticized irrational European practices even while sympathetically bridging differences among civilizations. A sophisticated reinterpretation of the history of the novel, Enlightenment Orientalism is sure to be welcomed as a landmark work in eighteenth-century studies.

    Here leading Fanon scholar Nigel C. Gibson offers theoretically informed historical analysis, providing crucial scholarly insights into the circumstances that led to the current hegemony of neoliberalism in South Africa.

    Maleuvre sweeps us through a vast cultural landscape, enabling us to experience each stopping place as the cusp of a limitless journey, whether he is discussing the works of Picasso, Gothic architecture, Beethoven, or General Relativity. If, as Aristotle said, philosophy begins in wonder, then this remarkable book shows us how wonder—the urge to know beyond the conceivable—is itself the engine of culture.

    

    Ito demonstrates that action, melodrama, erotica, and even educational themes have a place in ladie's comics. The author uses visual sociology which examines "visual information" rather than verbal and written data and proides readers the first full-length study of Japanese manga comics studies, ladies' comics. Ito shows how female protagonists are human beings who become aware of their sexuality and immerse themselves in carnal pleasures as subjects, not objects.

    Informed in important ways by queer theory, Wallace calls to account users of dominant discourses and at the same time articulates a theory base from which to interpret "alternative rhetoric."To examine the practice of writing from varied margins of society, Compelled to Write offers careful readings of four exemplar American writers, each of whom felt compelled within their own time and place to write in response to systemic injustices in American society.Sarah Grimké, a privileged white woman advocating for abolition, is forced to defend her right to speak as a woman; Frederick Douglass begins his public career almost as a curiosity (the articulate ex-slave) and ends it as one of the most important rhetors in American history; Gloria Anzaldúa writes not only in multiple languages and dialects but from marginalized positions related to gender, race, class, sexual identity, and physical abled-ness; David Sedaris uses his privileged position as a middle-class white male humorist to speak unabashedly of his sexuality, his addictions, and obsessive-compulsive personality disorder.Through these writers, Wallace explores a range of strategies that comprise alternative rhetorical practice, and demonstrates how such practice is inflected by social constraints on rhetorical agency and by how writers employ alternative discourses to resist those constraints. Grounding and personalizing Compelled to Write with rich material from his own teaching and his own experience, Wallace considers a number of implications for teachers of writing.

    Edited by Erkki Huhtamo and Jussi Parikka, with contributions from internationally prominent scholars from Europe, North America, and Japan, the essays help us understand how the media that predate today’s interactive, digital forms were in their time contested, adopted and embedded in the everyday. Providing a broad overview of the many historical and theoretical facets of Media Archaeology as an emerging field, the book encourages discussion by presenting a full range of different voices. By revisiting ‘old’ or even ‘dead’ media, it provides a richer horizon for understanding ‘new’ media in their complex and often contradictory roles in contemporary society and culture.

    It is also a training manual for adults who want to become effective allies to young people and develop the skills needed so that they can facilitate community building among youth. Adults are encouraged to see young people not as a problem but the key to the solution. The authors have decades of experience in youth education and social justice activism and provide a clear theoretical framework for their approach to social justice education. On the practical level, workshop guidelines and outlines are included for facilitating discussion and sharing around sensitive topics of oppression, the "isms" — racism, sexism, adultism — as well as gender issues, immigration, religion, ability and access. This program presents a positive framework that draws out the experience, strength, and idealism of young people while speaking to the issues they care about today.

    But if the digital has created a "paradigm shift" for architecture, which paradigm is shifting? In The Alphabet and the Algorithm, Mario Carpo points to one key practice of modernity: the making of identical copies. Carpo highlights two examples of identicality crucial to the shaping of architectural modernity: in the fifteenth century, Leon Battista Alberti's invention of architectural design, according to which a building is an identical copy of the architect's design; and, in the nineteenth and twentieth centuries, the mass production of identical copies from mechanical master models, matrixes, imprints, or molds. The modern power of the identical, Carpo argues, came to an end with the rise of digital technologies. Everything digital is variable. In architecture, this means the end of notational limitations, of mechanical standardization, and of the Albertian, authorial way of building by design. Charting the rise and fall of the paradigm of identicality, Carpo compares new forms of postindustrial digital craftsmanship to hand-making and the cultures and technologies of variations that existed before the coming of machine-made, identical copies. Carpo reviews the unfolding of digitally based design and construction from the early 1990s to the present, and suggests a new agenda for architecture in an age of variable objects and of generic and participatory authorship.