The term “recognition” shapes debates over Indigenous cultural distinctiveness, Indigenous rights to land and self-government, and Indigenous peoples’ right to benefit from the development of their lands and resources.In a work of critically engaged political theory, Glen Sean Coulthard challenges recognition as a method of organizing difference and identity in liberal politics, questioning the assumption that contemporary difference and past histories of destructive colonialism between the state and Indigenous peoples can be reconciled through a process of acknowledgment. Beyond this, Coulthard examines an alternative politics—one that seeks to revalue, reconstruct, and redeploy Indigenous cultural practices based on self-recognition rather than on seeking appreciation from the very agents of colonialism.Coulthard demonstrates how a “place-based” modification of Karl Marx’s theory of “primitive accumulation” throws light on Indigenous–state relations in settler-colonial contexts and how Frantz Fanon’s critique of colonial recognition shows that this relationship reproduces itself over time. This framework strengthens his exploration of the ways that the politics of recognition has come to serve the interests of settler-colonial power.In addressing the core tenets of Indigenous resistance movements, like Red Power and Idle No More, Coulthard offers fresh insights into the politics of active decolonization.

    Combining political theory with ethnographic research among the Mohawks of Kahnawà:ke, a reserve community in what is now southwestern Quebec, Audra Simpson examines their struggles to articulate and maintain political sovereignty through centuries of settler colonialism. The Kahnawà:ke Mohawks are part of the Haudenosaunee or Iroquois Confederacy. Like many Iroquois peoples, they insist on the integrity of Haudenosaunee governance and refuse American or Canadian citizenship. Audra Simpson thinks through this politics of refusal, which stands in stark contrast to the politics of cultural recognition. Tracing the implications of refusal, Simpson argues that one sovereign political order can exist nested within a sovereign state, albeit with enormous tension around issues of jurisdiction and legitimacy. Finally, Simpson critiques anthropologists and political scientists, whom, she argues, have too readily accepted the assumption that the colonial project is complete. Belying that notion, Mohawk Interruptus calls for and demonstrates more robust and evenhanded forms of inquiry into indigenous politics in the teeth of settler governance.

    Alexander G. Weheliye develops a theory of "racializing assemblages," taking race as a set of sociopolitical processes that discipline humanity into full humans, not-quite-humans, and nonhumans. This disciplining, while not biological per se, frequently depends on anchoring political hierarchies in human flesh. The work of the black feminist scholars Hortense Spillers and Sylvia Wynter is vital to Weheliye's argument. Particularly significant are their contributions to the intellectual project of black studies vis-à-vis racialization and the category of the human in western modernity. Wynter and Spillers configure black studies as an endeavor to disrupt the governing conception of humanity as synonymous with white, western Man. Weheliye posits black feminist theories of modern humanity as useful correctives to the "bare life and biopolitics discourse" exemplified by the works of Giorgio Agamben and Michel Foucault, which, Weheliye contends, vastly underestimate the conceptual and political significance of race in constructions of the human. Habeas Viscus reveals the pressing need to make the insights of black studies and black feminism foundational to the study of modern humanity.

    written for the indigenous and/or person of colour trying to understand how their gender is/has been impacted by whiteness and colonialism.

    It's a revisionist tendency discernible in the work of authors such as Ernst Nolte, who traces the impetus behind the Holocaust to the excesses of the Russian Revolution; or François Furet, who links the Stalinist purges to an 'illness' originating with the French Revolution.The intention of these revisionists is to eradicate the revolutionary tradition. Their true motives have little to do with the quest for a greater understanding of the past, but lie in the climate of the present day and the ideological needs of the political classes, as is most clearly seen now in the work of the Anglophone imperial revivalists Paul Johnson and Niall Ferguson.In this vigorous riposte to those who would denigrate the history of emancipatory struggle, Losurdo captivates the reader with a tour de force account of modern revolt, providing a new perspective on the English, American, French and twentieth-century revolutions.

    Sylvia Wynter: On Being Human as Praxis is a critical genealogy of Wynter’s work, highlighting her insights on how race, location, and time together inform what it means to be human. The contributors explore Wynter’s stunning reconceptualization of the human in relation to concepts of blackness, modernity, urban space, the Caribbean, science studies, migratory politics, and the interconnectedness of creative and theoretical resistances. The collection includes an extensive conversation between Sylvia Wynter and Katherine McKittrick that delineates Wynter’s engagement with writers such as Frantz Fanon, W. E. B. DuBois, and Aimé Césaire, among others; the interview also reveals the ever-extending range and power of Wynter’s intellectual project,  and elucidates her attempts to rehistoricize humanness as praxis.

    His writings - mosaics incorporating philosophy, literary criticism, Marxist analysis, and a syncretistic theology - defy simple categorization. And his mobile, often improvised existence has proven irresistible to mythologizers. His writing career moved from the brilliant esotericism of his early writings through his emergence as a central voice in Weimar culture and on to the exile years, with its pioneering studies of modern media and the rise of urban commodity capitalism in Paris. That career was played out amid some of the most catastrophic decades of modern European history: the horror of the First World War, the turbulence of the Weimar Republic, and the lengthening shadow of fascism. Now, a major new biography from two of the world's foremost Benjamin scholars reaches beyond the mosaic and the mythical to present this intriguing figure in full.Howard Eiland and Michael Jennings make available for the first time a rich store of information which augments and corrects the record of an extraordinary life. They offer a comprehensive portrait of Benjamin and his times as well as extensive commentaries on his major works, including "The Work of Art in the Age of Its Technological Reproducibility," the essays on Baudelaire, and the great study of the German Trauerspiel. Sure to become the standard reference biography of this seminal thinker, Walter Benjamin: A Critical Life will prove a source of inexhaustible interest for Benjamin scholars and novices alike.

    It was also the beginning of a series of interconnected investigations of staggering ambition and scope, investigating the deepest foundations of Western politics and thought.The Use of Bodies represents the ninth and final volume in this twenty-year undertaking, breaking considerable new ground while clarifying the stakes and implications of the project as a whole. It comprises three major sections. The first uses Aristotle's discussion of slavery as a starting point for radically rethinking notions of selfhood; the second calls for a complete reworking of Western ontology; and the third explores the enigmatic concept of "form-of-life," which is in many ways the motivating force behind the entire Homo Sacer project. Interwoven between these major sections are shorter reflections on individual thinkers (Debord, Foucault, and Heidegger), while the epilogue pushes toward a new approach to political life that breaks with the destructive deadlocks of Western thought. The Use of Bodies represents a true masterwork by one of our greatest living philosophers.

    One history of will is a history of attempts to eliminate willfulness from the will. Delving into philosophical and literary texts, Ahmed examines the relation between will and willfulness, ill will and good will, and the particular will and general will. Her reflections shed light on how will is embedded in a political and cultural landscape, how it is embodied, and how will and willfulness are socially mediated. Attentive to the wayward, the wandering, and the deviant, Ahmed considers how willfulness is taken up by those who have received its charge. Grounded in feminist, queer, and antiracist politics, her sui generis analysis of the willful subject, the figure who wills wrongly or wills too much, suggests that willfulness might be required to recover from the attempt at its elimination.

    . . . Dauntlessly and resourcefully intellectual, Robertson can also be playful or blunt. . . . She wields language expertly, even beautifully."—The New York TimesWhat if the cinema of the present were a Möbius strip of language, a montage of statements and questions sutured together and gradually accumulating color? Would the seams afford a new sensibility around the pronoun "you"? Would the precise words of philosophy, fashion, books, architecture, and history animate a new vision, gestural and oblique? Is the kinetic pronoun cinema?These and other questions are answered in the new collection from acclaimed poet and essayist Lisa Robertson. The book is available with four different back covers, designed by artists Hadley+Maxwell.A quorum of crows will be your witness.And if you discover you were bought?You note the smell of rain, bread, and exhaust mixed with tiredness.And if you yourself are incompatible with your view of the world?And what is the subject but a stitching?Once again you are the one who promotes artifice.At 2 am on Friday, you burn with a maudlin premonition.And rankings and rankings and badges and repetitions.Lisa Robertson's book Lisa Robertson's Magenta Soul Whip was named one of the New York Times 100 Notable Books of 2010 and was longlisted for the 2011 Warwick Prize. Her other books include Debbie: An Epic, The Men, The Weather, and Occasional Work and Seven Walks from the Office for Soft Architecture. She is the 2014 Bain Swiggett Professor at Princeton University.

    Much remains invariant: the form, a general disposition toward hostility, and of course fiery gestures against Gender and Civilization (and all the theories, views of history, and identities which hold them together). Bædan – a queer journal of heresy, does however, take leave of the first by exploring new inquiries and critiques. In this issue we take aim at all manner of radical dogmas, ideologies, and sciences, while also exploring the the worlds of poetics, archetypes, and myth. The new issue is also an engagement with a constellation of recent anarchist endeavors to explore the hell we all inhabit. We remain obviously inspired by conversations within the anti-civilization and nihilist milieu, by recent developments in anarchist thought, by correspondence and critique, and by the actions and words of comrades who are imprisoned or remain at large.If the first issue of Bædan was a knife thrust wildly in the dark, the second is an effort to examine our enemies in a new light; enemies who bear scars yet endure. In a sense, this issue follows through our initial attack and pushes beyond our own horrors at the consequences of words. We write at a time when everything which seemed slightly possible two years ago has borne its rotten fruit; when queer recuperation has become more powerful and accepted than ever, while the fetish for technology has reached an unprecedented frenzy; when so many efforts at subversion languish under the tyranny of cybernetic identity and aesthetics (even our own etymologies have become identities!); when friends turn away out of fear of the unknown, turn toward all the comforts and certainties of the past (identity politics, traditionalism, religious morality, activism, et al). The old enemies rear their heads and the terrain is as bleak as ever. And yet we take seriously that adage: “There’s no need to fear or hope, but only to look for new weapons.”Bædan – a queer journal of heresy, over two hundred pages of original content including: a scathing critique of gender and domestication, an exploration of the poetry of Percy Shelley, a vindication of anality and the fecal decomposition of society, an experiment with anarchist rituals and nihilist archetypes, correspondence (friendly and otherwise), and a new translation of Guy Hocquenghem.

    Along the way, Stevenson troubles our commonsense understanding of what life is and what it means to care for the life of another. Through close attention to the images in which we think and dream and through which we understand the world, Stevenson describes a world in which life is beside itself: the name-soul of a teenager who dies in a crash lives again in his friend’s newborn baby, a young girl shares a last smoke with a dead friend in a dream, and the possessed hands of a clock spin uncontrollably over its face. In these contexts, humanitarian policies make little sense because they attempt to save lives by merely keeping a body alive. For the Inuit, and perhaps for all of us, life is "somewhere else," and the task is to articulate forms of care for others that are adequate to that truth.

    Converging Lines celebrates this friendship and offers an illuminating look at their close-knit New York circle. Whereas previous scholarship has examined LeWitt’s impact on Hesse, this is the first publication to demonstrate that the artists influenced each other’s art and lives in reciprocal and profound ways.   Richly documented, this book includes a personal recollection by Lucy R. Lippard, a distinguished American art writer and critic who was a close friend of both artists. Also included are reproductions of 39 postcards LeWitt wrote to Hesse during his international travels, along with a poignant five-page letter that he sent Hesse, attesting to his belief in her talent; a previously unpublished interview from 2001 with LeWitt about his relationship with Hesse; and an illustrated chronology drawing upon interviews, photographs, and primary documents from the time. Shedding new light on the careers and personal lives of Hesse and LeWitt, this publication explores the deep connections between two of the 20th century’s most important artists.

    While markets are essential to enable individual choice, they cannot be self-regulating because they require ongoing state action. Furthermore, they cannot by themselves provide such necessities of social existence as education, health care, social and personal security, and the right to earn a livelihood. When these public goods are subjected to market principles, social life is threatened and major crises ensue.Despite these theoretical flaws, market principles are powerfully seductive because they promise to diminish the role of politics in civic and social life. Because politics entails coercion and unsatisfying compromises among groups with deep conflicts, the wish to narrow its scope is understandable. But like Marx's theory that communism will lead to a "withering away of the State," the ideology that free markets can replace government is just as utopian and dangerous.

    The anarchist, or, alas, nihilist concern finds a voice, or lent me one, here not because they are the best or right, but because they are the strangest. Plan of an eccentric thought in search, then, of its baroque expression. The anti-politics that others had given up discussing, and most had slept on, returns as what there is to write, perhaps to talk about. An ethics, too, because sometimes we are ethical. Analysis of rhetoric in search of finally free speech, which is why, in the end, I, at least, realized I was in search of a poetics adequate to decomposition. Or perhaps and precisely inadequate. For the moment and in the delay we call the present, then, essays. They say we try to inhabit, impossibly, this now-time, patiently.

    Seven years later, The Invisible Committee follows up their premonitory manifesto with a new book, To Our Friends.From The Invisible Committee:In 2007 we published The Coming Insurrection in France. It must be acknowledged that a number of assertions by the Invisible Committee have since been confirmed, starting with the first and most essential: the sensational return of the insurrectionary phenomenon. Who would have bet a kopeck, seven years ago, on the overthrow of Ben Ali or Mubarak through street action, on the revolt of young people in Quebec, on the political awakening of Brazil, on the fires set French-style in the English or Swedish banlieues , on the creation of an insurrectionary commune in the very heart of Istanbul, on a movement of plaza occupations in the United States, or on the rebellion that spread throughout Greece in December of 2008?During the seven years that separate The Coming Insurrection from To Our Friends , the agents of the Invisible Committee have continued to fight, to organize, to transport themselves to the four corners of the world, to wherever the fires were lit, and to debate with comrades of every tendency and every country. Thus To Our Friends is written at the experiential level, in connection with that general movement. Its words issue from the turmoil and are addressed to those who still believe sufficiently in life to fight as a consequence.To Our Friends is a report on the state of the world and of the movement, a piece of writing that's essentially strategic and openly partisan. Its political ambition is immodest: to produce a shared understanding of the epoch, in spite of the extreme confusion of the present.

    But with the arrival of the Scientific Revolution in the 16th and 17th centuries, the world was viewed as a lifeless, clock­like mechanism, bound by the laws of classical physics. Intelligence was a trait ascribed solely to human beings, and thus humanity was viewed as superior to and separate from nature. Today new scientific discoveries are reviving the ancient philosophy of a living, interconnected cosmos, and humanity is learning from and collaborating with nature’s intelligence in new, life-enhancing ways, from ecological design to biomimicry. Drawing upon the most important scientific discoveries of recent times, David Fideler explores the self-organizing intelligence at the heart of nature and humanity’s place in the cosmic pattern. He examines the ancient vision of the living cosmos from its roots in the “world soul” of the Greeks and the alchemical tradition, to its eclipse during the Scientific Revolution, to its return today. He explains how the mechanistic worldview led to humanity’s profound sense of alienation, for if the universe only functioned as a machine, there was no longer any room for genuine creativity or spontaneity. He shows how this isn’t the case and how, even at the molecular level, natural systems engage in self-organization, self-preservation, and creative problem solving, mirroring the ancient idea of a creative intelligence that exists deep within the heart of nature. Revealing new connections between science, religion, and culture, Fideler explores how to reengage our creative partnership with nature and new ways to collaborate with nature’s intelligence.

    * Annotated with concise introduction, including analysis of Plato's works as well as modern view on Plato's ideas. * Original footnotes are hyperlinked for easy reference. * The collection includes alphabetical and categorical indexes of Plato's works. * Each book features its own active Table of Contents. * Includes Plato's Biography. * Includes Plato's most famous quotes. * All Annotated Classics books are beautifully designed for easy reading and navigation on e-Readers and mobile devices. CONTENTS: EARLY DIALOGUES: Apology Charmides Crito Euthyphro First Alcibiades Hippias Major Hippias Minor Ion Laches, or; Courage Lysis, or; Friendship TRANSITIONAL AND MIDDLE DIALOGUES: Cratylus Euthydemus Gorgias Menexenus Meno Phaedo Protagoras Symposium LATER MIDDLE DIALOGUES: The Republic Phaedrus Parmenides Theaetetus LATE DIALOGUES: Clitopho Timaeus Critias Sophist Statesman Philebus Laws OF DOUBTFUL AUTHENTICITY: Axiochus; or On Death Demodocus Epinomis, or The Philosopher Epistles Eryxias, or On Wealth Halcyon Hipparchus Minos On Justice On Virtue The Rivals Second Alcibiades Sisyphus, or, Upon taking Counsel Theages BIOGRAPHY & CRITICISM Plato Biography Plato by Diogenes Laërtius Plato by Elbert Hubbard Plato; or, the Philosopher by Ralph Waldo Emerson Plato and Platonism by Walter Pater Introduction to the Philosophy and Writings of Plato by Thomas Taylor QUOTES & ANALYSIS Quotes Works' Analysis

    Written at the birth of post-war consumerism, the Critique was a philosophical inspiration for the 1968 student revolution in France and is considered to be the founding text of all that we know as cultural studies, as well as a major influence on the fields of contemporary philosophy, geography, sociology, architecture, political theory and urbanism. A work of enormous range and subtlety, Lefebvre takes as his starting-point and guide the 'trivial'; details of quotidian experience: an experience colonized by the commodity, shadowed by inauthenticity, yet one which remains the only source of resistance and change.This is an enduringly radical text, untimely today only in its intransigence and optimism.

    Louise Cowan postulates a culture-generating cosmos as the identifying mark of epic. The essays illustrate the applicability of her theory of genres to major works in the epic tradition. An excellent resource for those studying the social, psychological and historical aspects of epic as a literary art form. Dallas Institute Publications publishes works concerned with the imaginative, mythic, and symbolic sources of culture. 378 pages, indexed.

    Vincent Woodard takes the enslaved person’s claims of human consumption seriously, focusing on both the literal starvation of the slave and the tropes of cannibalism on the part of the slaveholder, and further draws attention to the ways in which Blacks experienced their consumption as a fundamentally homoerotic occurrence. The Delectable Negro explores these connections between homoeroticism, cannibalism, and cultures of consumption in the context of American literature and US slave culture.Utilizing many staples of African American literature and culture, such as the slave narratives of Olaudah Equiano, Harriet Jacobs, and Frederick Douglass, as well as other less circulated materials like James L. Smith’s slave narrative, runaway slave advertisements, and numerous articles from Black newspapers published in the nineteenth century, Woodard traces the racial assumptions, political aspirations, gender codes, and philosophical frameworks that dictated both European and white American arousal towards Black males and hunger for Black male flesh. Woodard uses these texts to unpack how slaves struggled not only against social consumption, but also against endemic mechanisms of starvation and hunger designed to break them. He concludes with an examination of the controversial chain gang oral sex scene in Toni Morrison’s Beloved, suggesting that even at the end of the twentieth and beginning of the twenty-first century, we are still at a loss for language with which to describe Black male hunger within a plantation culture of consumption.

    Anti-assimilation, pro-decadence, pro-revolution statement.

    His highly influential writings of the 1990s—included in our bestselling Recovering Landscape—together with a post-millennial series of built projects, such as New York's celebrated High Line, prove that the best way to address the problems facing our cities is to embrace their industrial past. Collecting Corner's written scholarship from the early 1990s through 2010, The Landscape Imagination addresses critical issues in landscape architecture and reflects on how his writings have informed the built work of his thriving New York– based practice, Field Operations.

    With the advent of modernity, forensics shifted to refer exclusively to the courts of law and to the use of medicine, and today as a science in service to the law. The present use of forensics, along with its popular representations have become increasingly central to the modes by which states police and govern their subjects.By returning to forensis this book seeks to unlock forensics’ original potential as a political practice and reorient it. Inverting the direction of the forensic gaze it designates a field of action in which individuals and organizations detect and confront state violations.The condition of forensis is one in which new technologies for mediating the “testimony” of material objects—bones, ruins, toxic substances, landscapes, and the contemporary medias in which they are captured and represented—are mobilized in order to engage with struggles for justice, systemic violence, and environmental transformations across the frontiers of contemporary conflict.This book presents the work of the architects, artists, filmmakers, lawyers, and theorists who participated directly in the “Forensic Architecture” project in the Centre for Research Architecture at Goldsmiths University of London, as well as the work of associates and guests. It includes forensic investigations undertaken by the project and its collaborators aimed at producing new kinds of evidence for use by international prosecutorial teams, political organizations, NGOs, and the UN. It also brings together research and essays that situate contemporary forensic practices within broader political, historical, and aesthetic discourse.

    Gines claims that there are some problematic assertions and oversights regarding Arendt's treatment of the "Negro question." Gines focuses on Arendt's reaction to the desegregation of Little Rock schools, to laws making mixed marriages illegal, and to the growing civil rights movement in the south. Reading them alongside Arendt's writings on revolution, the human condition, violence, and responses to the Eichmann war crimes trial, Gines provides a systematic analysis of anti-black racism in Arendt's work.

    Whereas The Impossible, Patience was serious play around nihilism and language, How to Live is a surreal anti-thesis “in the form of paradoxes, defending precisely the claims that seem most impossible or disagreeable to maintain.”

    And this story stands to shatter our preconceptions of Orientalism.To illuminate why and how the Islamicate world became the locus for such fantasies and desires, Boone deploys a supple mode of analysis that reveals how the cultural exchanges between Middle East and West have always been reciprocal and often mutual, amatory as well as bellicose. Whether examining European accounts of Istanbul and Egypt as hotbeds of forbidden desire, juxtaposing Ottoman homoerotic genres and their European imitators, or unlocking the homoerotic encoding in Persian miniatures and Orientalist paintings, this remarkable study models an ethics of crosscultural reading that exposes, with nuance and economy, the crucial role played by the homoerotics of Orientalism in shaping the world as we know it today.A contribution to studies in visual culture as well as literary and social history, The Homoerotics of Orientalism draws on primary sources ranging from untranslated Middle Eastern manuscripts and European belles-lettres to miniature paintings and photographic erotica that are presented here for the first time.

    Considering the ways in which bodily movement is assigned cultural meaning, Juana María Rodríguez takes the stereotypes of the hyperbolically gestural queer Latina femme body as a starting point from which to discuss how gestures and forms of embodiment inform sexual pleasures and practices in the social realm.Centered on the sexuality of racialized queer female subjects, the book’s varied archive—which includes burlesque border crossings, daddy play, pornography, sodomy laws, and sovereignty claims—seeks to bring to the fore alternative sexual practices and machinations that exist outside the sightlines of mainstream cosmopolitan gay male culture. Situating articulations of sexual subjectivity between the interpretive poles of law and performance, Rodríguez argues that forms of agency continually mediate among these various structures of legibility—the rigid confines of the law and the imaginative possibilities of the performative. She reads the strategies of Puerto Rican activists working toward self-determination alongside sexual performances on stage, in commercial pornography, in multi-media installations, on the dance floor, and in the bedroom. Rodríguez examines not only how projections of racialized sex erupt onto various discursive mediums but also how the confluence of racial and gendered anxieties seeps into the gestures and utterances of sexual acts, kinship structures, and activist practices.Ultimately, Sexual Futures, Queer Gestures, and Other Latina Longings reveals—in lyrical style and explicit detail—­how sex has been deployed in contemporary queer communities in order to radically reconceptualize sexual politics.

    counterterrorism apparatus in the Cold War's "balance of terror." He shows how, after the attacks of 9/11, the U.S. global War on Terror mobilized a wide range of affective, conceptual, and institutional resources established during the Cold War to enable a new planetary theater of operations. Tracing how specific aspects of emotional management, existential danger, state secrecy, and threat awareness have evolved as core aspects of the American social contract, Masco draws on archival, media, and ethnographic resources to offer a new portrait of American national security culture. Undemocratic and unrelenting, this counterterror state prioritizes speculative practices over facts, and ignores everyday forms of violence across climate, capital, and health in an unprecedented effort to anticipate and eliminate terror threats--real, imagined, and emergent.

    This unfinished state of affairs, this lingering historical experience of being caught among unequal languages, is the subject of Rey Chow's book. A diverse group of personae, never before assembled in a similar manner, make their appearances in the various chapters: the young mulatto happening upon a photograph about skin color in a popular magazine; the man from Martinique hearing himself named "Negro" in public in France; call center agents in India trained to Americanize their accents while speaking with customers; the Algerian Jewish philosopher reflecting on his relation to the French language; African intellectuals debating the pros and cons of using English for purposes of creative writing; the translator acting by turns as a traitor and as a mourner in the course of cross-cultural exchange; Cantonese-speaking writers of Chinese contemplating the politics of food consumption; radio drama workers straddling the forms of traditional storytelling and mediatized sound broadcast.In these riveting scenes of speaking and writing imbricated with race, pigmentation, and class demarcations, Chow suggests, postcolonial languaging becomes, de facto, an order of biopolitics. The native speaker, the fulcrum figure often accorded a transcendent status, is realigned here as the repository of illusory linguistic origins and unities. By inserting British and post-British Hong Kong (the city where she grew up) into the languaging controversies that tend to be pursued in Francophone (and occasionally Anglophone) deliberations, and by sketching the fraught situations faced by those coping with the specifics of using Chinese while negotiating with English, Chow not only redefines the geopolitical boundaries of postcolonial inquiry but also demonstrates how such inquiry must articulate historical experience to the habits, practices, affects, and imaginaries based in sounds and scripts.

    Thus, a preliminary definition of Deleuze's philosophy emerges: an irrational logic of aberrant movements. —from Aberrant MovementsIn Aberrant Movements, David Lapoujade offers one of the first comprehensive treatments of Deleuzian thought. Drawing on the entirety of Deleuze's work as well as his collaborations with Félix Guattari, from the “transcendental empiricism” of Difference and Repetition to the schizoanalysis and geophilosophy of Anti-Oedipus and A Thousand Plateaus, Lapoujade explores the central problem underlying the delirious coherence of Deleuze's philosophy: aberrant movements. These are the movements that Deleuze wrests from Kantian idealism, Nietzsche's eternal return, and the nonsense of Lewis Carroll; they are the schizophrenic processes of the unconscious and the nomadic line of flight traversing history—in short, the forces that permeate life and thought. Tracing and classifying their “irrational logics” represent the quintessential tasks of Deleuzian philosophy.Rather than abstract notions, though, these logics constitute various modes of populating the earth—involving the human as much as the animal, physical, and chemical—and the affective, mental, and political populations that populate human thought. Lapoujade argues that aberrant movements become the figures in a combat against the forms of political, social, philosophical, aesthetic, and scientific organization that attempt to deny, counter, or crush their existence. In this study of a thinker whose insights, theoretical confrontations, and perverse critiques have profoundly influenced philosophy, literature, film, and art over the last fifty years, Lapoujade invites us to join in the discordant harmonies of Deleuze's work—and in the battle that constitutes the thought of philosophy, politics, and life.

    Bringing ecocriticism closer to the material turn, the contributions to this landmark volume focus on material forces and substances, the agency of things, processes, narratives and stories, and making meaning out of the world. This broad-ranging reflection on contemporary human experience and expression provokes new understandings of the planet to which we are intimately connected.

    With forty beautiful “photo recipes” anyone can follow—with any camera—preserving your family’s story has never been easier!

    Examining the moral and social implications of Kanye West's art in the context of Western civilization's preconceived ideas, the contributors consider how West both challenges religious and moral norms and propagates them.

    Yet at its core, masochism is a site where power, bodies, and society come together. Sensational Flesh uses masochism as a lens to examine how power structures race, gender, and embodiment in different contexts.Drawing on rich and varied sources—from 19th century sexology, psychoanalysis, and critical theory to literary texts and performance art—Amber Jamilla Musser employs masochism as a powerful diagnostic tool for probing relationships between power and subjectivity. Engaging with a range of debates about lesbian S&M, racialization, femininity, and disability, as well as key texts such as Sacher-Masoch’s Venus in Furs, Pauline Réage’s The Story of O, and Michel Foucault's History of Sexuality, Musser renders legible the complex ways that masochism has been taken up by queer, feminist, and critical race theories. Furthering queer theory’s investment in affect and materiality, she proposes “sensation” as an analytical tool for illustrating what it feels like to be embedded in structures of domination such as patriarchy, colonialism, and racism and what it means to embody femininity, blackness, and pain. Sensational Flesh is ultimately about the ways in which difference is made material through race, gender, and sexuality and how that materiality is experienced.

    Johnson achieved renown early in her career, both as a brilliant student of the Yale School of literary criticism and as the translator of Jacques Derrida's Dissemination. She went on to lead the way in extending the insights of structuralism and poststructuralism into newly emerging fields now central to literary studies, fields such as gender studies, African American studies, queer theory, and law and literature. Stunning models of critical reading and writing, her essays cultivate rigorous questioning of universalizing assumptions, respect for otherness and difference, and an appreciation of ambiguity.Along with the classic essays that established her place in literary scholarship, this Reader makes available a selection of Johnson's later essays, brilliantly lucid and politically trenchant works exploring multilingualism and translation, materiality, ethics, subjectivity, and sexuality. The Barbara Johnson Reader offers a historical guide through the metamorphoses and tumultuous debates that have defined literary study in recent decades, as viewed by one of critical theory's most astute thinkers.

    The fastest reader is the best reader and gets the gold star and the certificate for free ice cream! This, of course, punishes deliberate, careful students and booklovers who delight in the process and incorporate what they read into their everyday lives. The dominant method of reading works for simple linear texts, but it is by no means the only way to go about reading and excludes many other types of texts. In How to Read,, veteran novelist, editor and educator Eckhard Gerdes reveals 81 different approaches for reading, opening up new horizons that restrictive educators have been blocking from view for far too long. This innovative guidebook will enrich the experience of textuality for young and old readers alike.

    It has been further argued, particularly since the early 1970s, that sexual drives and desires also condition the distribution, display and reception of art.This anthology traces how and why this identification of art with sexual expression or repression arose and how the terms have shifted in tandem with artistic and theoretical debates, from the era of the rights movements to the present. Among the subjects it discusses are abjection and the "informe," or formless; pornography and the obscene; the performativity of gender and sexuality; and the role of sexuality in forging radical art or curatorial practices in response to such issues as state-sponsored repression and anti-feminism in the broader social realm.Artists surveyed includeVito Acconci, Assume Vivid Astro Focus, Lynda Benglis, Louise Bourgeois, Gerard Byrne, George Chakravarthi, Judy Chicago, Vaginal Davis, Wim Delvoye, Elmgreen & Dragset, Valie Export, F�lix Gonz�lez-Torres, Guillermo G�mez-Pe�a, Harmony Hammond, Claudette Johnson, Mary Kelly, Yayoi Kusama, Robert Legorreta, Paul McCarthy, Sarah Maple, Shirin Neshat, Lorraine O'Grady, Yoko Ono, Catherine Opie, Orlan, William Pope.L, Miriam Schapiro, Carolee Schneemann, Joan Semmel, Barbara Smith, Annie Sprinkle, Alina Szapocznikow, Del LaGrace Volcano, Hannah Wilke, David WojnarowiczWriters includeMalek Alloula, Norman O. Brown, Judith Butler, Douglas Crimp, Angela Dimitrakaki, Michel Foucault, Daniel Gu�rin, Eleanor Heartney, Jonathan D. Katz, Rosalind Krauss, Julia Kristeva, Pawel Leszkowicz, Herbert Marcuse, Kobena Mercer, Laura Mulvey, Lawrence Rinder, Jacqueline Rose, Eve Kosofsky Sedgwick, Susan Sontag, Trinh T. Minh-ha, Stephen Whittle

    Dick, Laurence A. Rickels investigated the renowned science fiction author’s collected work by way of its relationship to the concept and condition of schizophrenia. In his new book, Germany: A Science Fiction, he focuses on psychopathy as the undeclared diagnosis implied in flunking the empathy test. The switch from psychosis to psychopathy as an organizing limit opens the prospect of a genealogy of the Cold War era, which Rickels begins by examining Dick’s The Simulacra and follows out with readings of Simulacron 3, Fahrenheit 451, The Day of the Triffids, This Island Earth and Gravity’s Rainbow, among many other genealogical stations.Nazi Germany hosted the first season of the realization of science fantasy with the rocket at the top of this arc. After World War II, the genre had to delete the recent past and start again within the new Cold War opposition. Certainly the ancestral prehistory was still intact (in the works of, for instance, Jules Verne and H. G. Wells). At the bulk rate of its generic line of production, however, science fiction would thereafter become a native to the Cold War habitat.This study addresses the syndications of the missing era in the science fiction mainstream, the phantasmagoria of its returns, and the extent of the integration of all the above since some point in the 1980s. Rickels works through the preliminaries of repair that must be met in a world devastated by psychopathic violence before mourning can even be a need. While I Think I Am was the endopsychic allegory of Dick’s corpus, Germany takes the corpus as a point of context for the endopsychic genealogy of the post-WWII containment and integration of psychopathy.

    A First Nations scholar recovers lost tribal knowledge of non-Eurocentric gender. A Thai trans filmmaker negotiates culturally incommensurable categories of self. Two contributors consider what is lost as the term transgender replaces local, vernacular categories of difference in India. A study of genderqueer childhood in Peru disrupts colonial ethnographer-informant roles, while another author critiques the colonialist ethnography on the sarimbavy, gender nonconforming categories of Madagascar. Another essay follows the global commodity chain of synthetic hormones to explore the biopolitics of transgender bodies and race. Finally, a roundtable discussion among a transnational panel of activists, culture makers, and scholars offers perspectives on decolonizing the transgender imaginary that range from the celebratory to the cynical.

    But at the same time, color lies at the limits of language and understanding. In this absorbing sequel to Chromophobia—which addresses the extremes of love and loathing provoked by color since antiquity—David Batchelor charts color’s more ambiguous terrain.  The Luminous and the Grey explores the places where color comes into being and where it fades away, probing when it begins and when it ends both in the imagination and in the material world. Batchelor draws on neuroscience, philosophy, novels, films, and artists’ writings—as well as his own experience as an artist working with color—to understand how we see and use colors. He considers the role of color in creation myths, industrial chemistry, and optics, and examines the particular forms of luminosity that saturate the modern city. Following this inquiry into the hues that we face every day, he turns to one that is both color and noncolor: grey itself, which he reveals is as much a mood, feeling, and existential condition as a shade that we experience with our eyes.   Deftly argued, always thought-provoking, and ever entertaining, The Luminous and the Grey is a beautiful study of how we see and feel our multicolored world.

    In the process, Chidester provides a counterhistory of the academic study of religion, an alternative to standard accounts that have failed to link the field of comparative religion with either the power relations or the historical contingencies of the imperial project.   In developing a material history of the study of religion, Chidester documents the importance of African religion, the persistence of the divide between savagery and civilization, and the salience of mediations—imperial, colonial, and indigenous—in which knowledge about religions was produced. He then identifies the recurrence of these mediations in a number of case studies, including Friedrich Max Müller’s dependence on colonial experts, H. Rider Haggard and John Buchan’s fictional accounts of African religion, and W. E. B. Du Bois’s studies of African religion. By reclaiming these theorists for this history, Chidester shows that race, rather than theology, was formative in the emerging study of religion in Europe and North America. Sure to be controversial, Empire of Religion is a major contribution to the field of comparative religious studies.

    But while Christianity has obsessed over the future of humanity, it has neglected the ends for nonhuman animals, inanimate creatures, and angels. In Decreation, Paul J. Griffiths explores how orthodox Christian theology might be developed to include the last things of all creatures.Griffiths employs traditional and historical Christian theology of the last things to create both a grammar and a lexicon for a new eschatology. Griffiths imagines heaven as an endless, repetitively static, communal, and enfleshed adoration of the triune God in which angels, nonhuman animals, and inanimate objects each find a place. Hell becomes a final and irreversible separation from God--annihilation--sin's true aim and the last success of the sinner. This grammar, Griffiths suggests, gives Christians new ways to think about the redemption of all things, to imagine relationships with nonhuman creatures, and to live in a world devastated by a double fall.--David Clough "Anglican Theological Review"

    The Imperial University brings together scholars, including some who have been targeted for their open criticism of American foreign policy and settler colonialism, to explore the policing of knowledge by explicitly linking the academy to the broader politics of militarism, racism, nationalism, and neoliberalism that define the contemporary imperial state.The contributors to this book argue that “academic freedom” is not a sufficient response to the crisis of intellectual repression. Instead, they contend that battles fought over academic containment must be understood in light of the academy’s relationship to U.S. expansionism and global capital. Based on multidisciplinary research, autobiographical accounts, and even performance scripts, this urgent analysis offers sobering insights into such varied manifestations of “the imperial university” as CIA recruitment at black and Latino colleges, the connections between universities and civilian and military prisons, and the gender and sexual politics of academic repression.Contributors: Thomas Abowd, Tufts U; Victor Bascara, UCLA; Dana Collins, California State U, Fullerton; Nicholas De Genova; Ricardo Dominguez, UC San Diego; Sylvanna Falcón, UC Santa Cruz; Farah Godrej, UC Riverside; Roberto J. Gonzalez, San Jose State U; Alexis Pauline Gumbs; Sharmila Lodhia, Santa Clara U; Julia C. Oparah, Mills College; Vijay Prashad, Trinity College; Jasbir Puar, Rutgers U; Laura Pulido, U of Southern California; Ana Clarissa Rojas Durazo, California State U, Long Beach; Steven Salaita, Virginia Tech; Molly Talcott, California State U, Los Angeles.

    Focusing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European “waves” and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.

    

    Author Dan Berger goes on to examine some of the most dynamic social movements across half a century, including black liberation, Puerto Rican independence, Native American sovereignty, Chicano radicalism, white antiracist and working-class mobilizations, pacifist and antinuclear campaigns, earth liberation, and animal rights. Berger’s encyclopedic knowledge of social movements in the United States provides a rich comparative history of numerous campaigns that continue to shape contemporary politics. The book also offers a little-heard voice in contemporary critiques of mass incarceration by investigation how mass incarcerations have occurred within a slew of social movements that have provided steep challenges to state power.

    With stories, encounters, and anecdotes as well as methodological reflections, Nagar grapples with the complexity of working through solidarities, responsibility, and ethics while involved in politically engaged scholarship. Experiences that range from the streets of Dar es Salaam to farms and development offices in North India inform discussion of the labor and politics of coauthorship, translation, and genre blending in research and writing that cross multiple--and often difficult--borders. The author links the implicit assumptions, issues, and questions involved with scholarship and political action, and explores the epistemological risks and possibilities of creative research that bring these into intimate dialogueDaringly self-conscious, Muddying the Waters reveals a politically engaged researcher and writer working to become ""radically vulnerable,"" and the ways in which such radical vulnerability can allow a re-imagining of collaboration that opens up new avenues to collective dreaming and laboring across sociopolitical, geographical, linguistic, and institutional borders.

    This comprehensive study explores how the presence of Islamic minorities transformed Europe in everything from architecture to cooking, literature to science, and served as a stimulus for Christian society to define itself. Combining a series of regional studies, Catlos compares the varied experiences of Muslims across Iberia, southern Italy, the Crusader Kingdoms and Hungary to examine those ideologies that informed their experiences, their place in society and their sense of themselves as Muslims. This is a pioneering new narrative of the history of medieval and early modern Europe from the perspective of Islamic minorities; one which is not, as we might first assume, driven by ideology, isolation and decline, but instead one in which successful communities persisted because they remained actively integrated within the larger Christian and Jewish societies in which they lived.Offers the first comprehensive study of the phenomenon of Muslim minorities in Latin ChristendomProvides a unique narrative of the history of late medieval and early modern Europe from the perspective of Islamic minoritiesCombines detailed regional case studies with analysis of the Muslim experience across Europe as a whole"The time is right for a sustained synthesis of the last few generations’ mountain of research on the experience of Muslims under Latin-Christian rule in the Mediterranean lands. Brian Catlos has accomplished that difficult feat impressively in this volume, but much more as well. On offer also are his own extensive knowledge of the vast primary-source base that has undergirded that research, his own unfailingly deft analysis of complex social and cultural realities, and his ever energetic and readable prose, making Muslims of Medieval Latin Christendom, c.1050–1614 not just an essential summation of Mudejar studies, but a model for future research on this rich topic." Thomas E. Burman, University of Tennessee, Knoxville"Muslims of Medieval Latin Christendom, c.1050–1614 is one of the most significant works on Christian-Muslim relations to have been published in the past twenty-five years. The book is original and scholarly, and its conclusions are wise." Simon Barton, University of Exeter"This is the first monograph that analyzes the Muslim communities of medieval Latin Christendom. Brian Catlos combines a focus on the diversity of experiences of these minorities in Spain, Portugal, Italy and Hungary with insightful discussions of general traits that shaped Islamic societies across medieval Europe. Making excellent use of the explosion of academic studies into this field of the last years on the one hand, and showing a passion for pioneering work on archival documents and manuscript sources on the other, Catlos brings the study of the economic, social, cultural and religious life of these minorities a major step forward." Gerard Wiegers, University of Amsterdam and Visiting Research Fellow, Käte Hamburger Kolleg, Ruhr University Bochum"The first modern scholarly work on this subject in any language, Brian Catlos’s magisterial new book is likely to command its field for a long while to come. Well-known for his studies of religious minorities in medieval Spain, Catlos here not only synthesises an immense literature on mudéjar societies but writes with equal authority on Italy, Hungary, the Crusader States, and indeed everywhere that Muslim subalterns, slaves or captives were to be found within medieval Latin Europe. In its range, learning, archival depth, clarity and vigour, this is an astonishing achievement." Peregrine Horden, Royal Holloway, University of London"This book will quickly become (and long remain) a vade mecum for students interested in the topic." R. T. Ingoglia, Choice

    People who work in libraries and are sympathetic to, or directly involved in, social justice struggles have long embodied this idea, as they make use of their skills in the service of those causes. From movement archives to zine collections, international solidarity to public library programming, oral histories to email lists, prisons to protests —and beyond —this book is a look into the projects and pursuits of activist librarianship in the early 21st century.The target audience of this book consists of: - People interested in going into librarianship who want an idea of nontraditional and activist areas in which librarians operate. - Practicing library workers seeking inspiration for ways to combine their expertise with their political interests outside the library. - Practicing library workers who want articulations of how their work fits into a broader context of power structures, politics, and social justice. - Activists interested in collaborations with library workers and/or projects related to literature, information, education, and documentation in social movements. - People in other fields who want to draw connections between their own work and social justice goals, and are looking for supportive literature.

    In an accessible but scientifically aware manner, architect and author Klaske Havik (born 1975) argues that literary authors most effectively portray the concept of lived and experienced space, evoking memories and imaginations in their readers. Havik offers new methods for -reading- and -writing- places, from the architectural to the urban, by engaging with three particular techniques of literature: description, transcription and prescription. This triad of interrelated concepts forms a -bridge- that connects to different literary discourses, which Havik translates into the domain of architecture and urban planning. This revised framework for architectural research, writing and reading encourages professional writing to recognize that each place is a complex and stratified phenomenon--a -lived- place. Throughout this theoretical discourse are thorough analyses of the work of Steven Holl, Bernard Tschumi and Rem Koolhaas.

    In his new book Loitersack, Donato Mancini (You Must Work Harder to Write Poetry of Excellence, Bookthug, 2012) extends his inquiry of Canadian poetry and poetics in the form of a book that contains poetry, poetics, theory and theory theatre. In many ways a companion piece to You Must Work Harder, Loitersack works through some of the problems and questions Mancini posed in that work, a more manifest (if not traditional) work of criticism. Loitersack is in some senses a commonplace book — a scrapbook of borrowed quotations — in other senses it is the poet's personal book of critical reflections, describing a broad topography of poetic knowledge. Like all Mancini's work, it's wired for explosive laughter; and as in all his previous work, Mancini sets out to write a book unlike anything else he — or anyone else, for that matter — has ever read.

    The result, "post-depravity," is an impending state in which perversity and normality become identical.Post-Depravity uses the method of a cross-sectional study, focusing on a representative population at a specific moment in time, to show the emergence of this paradoxical future. At the center of the cross-section is Dr Francis Malenkov, aka Dr God-Damn X-Ray Spex, a self-proclaimed prophet whose predictions are paradoxes: if they prove true, then they really were visions of the future; if they don't, then they were only symptoms of a new type of psychosis. Either way, Dr Malenkov exerts a galvanizing influence on a small circle of debauched followers, and Post-Depravity is the story of how these healthcare professionals utilize their expert knowledge of the human body to devise new perversions.Post-Depravity is a dismembered novel, its parts isolated like organs harvested from a cadaver. To read it, however, is to realize that a meticulously curated set of images and terms is distributed across its vitals. Neologisms, repetitions, trigger words that connect disparate regions of text — these reverberate and resound in the brain, causing the reading experience to mirror the obsessional mindset of Dr God-Damn X-Ray Spex. In that respect, Post-Depravity is not just a diagnosis but a means of derangement, an effort to use language to induce psychosis.

    The number of undergraduate students completing fine arts degrees at US colleges doubled in the years between 1985–2010, according to the Digest of Education Statistics. But being an artist doesn’t necessarily mean making drawings or paintings or sculpture or even installations or videos. The desire to pursue a life in “fine art” simply means a desire to respond creatively to the present, just as the disciplines of “poetry” or “rock & roll” were ciphers for countercultural lifestyles in other eras.

    Looking across a broad range of literature, Tatonetti offers the first overview and guide to queer Native literature from its rise in the 1970s to the present day.In The Queerness of Native American Literature, Tatonetti recovers ties between two simultaneous renaissances of the late twentieth century: queer literature and Native American literature. She foregrounds how Indigeneity intervenes within and against dominant interpretations of queer genders and sexualities, recovering unfamiliar texts from the 1970s while presenting fresh, cogent readings of well-known works. In juxtaposing the work of Native authors—including the longtime writer–activist Paula Gunn Allen, the first contemporary queer Native writer Maurice Kenny, the poet Janice Gould, the novelist Louise Erdrich, and the filmmakers Sherman Alexie, Thomas Bezucha, and Jorge Manuel Manzano—with the work of queer studies scholars, Tatonetti proposes resourceful interventions in foundational concepts in queer studies while also charting new directions for queer Native studies.Throughout, she argues that queerness has been central to Native American literature for decades, showing how queer Native literature and Two-Spirit critiques challenge understandings of both Indigeneity and sexuality.

    It documents and/or restages four installations, spaces or happenings, in Chicago, San Francisco, Detroit and Providence, which were crucial to the development of figurative art in the United States. Several of the better-known artists in What Nerve! have been the subject of significant exhibitions or publications, but this is the first major volume to focus on the broader impact of figurative art to connect artists and collectives from different generations and regions of the country. These are: from Chicago, the Hairy Who (James Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, Karl Wirsum); from California, Funk artists (Jeremy Anderson, Robert Arneson, Roy De Forest, Robert Hudson, Ken Price, Peter Saul, Peter Voulkos, William T. Wiley); from Detroit, Destroy All Monsters (Mike Kelley, Cary Loren, Niagara, Jim Shaw); and from Providence, Forcefield (Mat Brinkman, Jim Drain, Leif Goldberg, Ara Peterson). Created in collaboration with artists from these groups, the historical moments at the core of What Nerve! are linked by work from six artists who profoundly influenced or were influenced by the groups: William Copley, Jack Kirby, Elizabeth Murray, Gary Panter, Christina Ramberg and H.C. Westermann. Featuring paintings, sculptures, drawings, prints, photographs and videos, as well as ephemera, wallpaper and other materials used in the reconstructed installations, the book and exhibition will broaden public exposure to the scope of this influential history. The exuberance, humor and politics of these artworks remain powerfully resonant. Much of the work in this book, including installation photos, exhibition ephemera and correspondence, is published for the first time. What Nerve! represents the first historical examination of the circumstances, relationships and works of an increasingly important lineage of American artists.

    Until now, however, there has not been a single introductory textbook that focuses specifically on this topic.Cognitive Neuroscience of Language fills that gap by providing an up-to-date, wide-ranging, and pedagogically practical survey of the most important developments in the field. It guides students through all of the major areas of investigation, beginning with fundamental aspects of brain structure and function, and then proceeding to cover aphasia syndromes, the perception and production of speech, the processing of language in written and signed modalities, the meanings of words, and the formulation and comprehension of complex expressions, including grammatically inflected words, complete sentences, and entire stories.Drawing heavily on prominent theoretical models, the core chapters illustrate how such frameworks are supported, and sometimes challenged, by experiments employing diverse brain mapping techniques. Although much of the content is inherently challenging and intended primarily for graduate or upper-level undergraduate students, it requires no previous knowledge of either neuroscience or linguistics, defining technical terms and explaining important principles from both disciplines along the way.

    Digital color is a fundamental part of how we use our devices, but we never give a thought to how it is produced or how it came about.            Chromatic Algorithms reveals the fascinating history behind digital color, tracing it from the work of a few brilliant computer scientists and experimentally minded artists in the late 1960s and early ‘70s through to its appearance in commercial software in the early 1990s. Mixing philosophy of technology, aesthetics, and media analysis, Carolyn Kane shows how revolutionary the earliest computer-generated colors were—built with the massive postwar number-crunching machines, these first examples of “computer art” were so fantastic that artists and computer scientists regarded them as psychedelic, even revolutionary, harbingers of a better future for humans and machines. But, Kane shows, the explosive growth of personal computing and its accompanying need for off-the-shelf software led to standardization and the gradual closing of the experimental field in which computer artists had thrived.             Even so, the gap between the bright, bold presence of color onscreen and the increasing abstraction of its underlying code continues to lure artists and designers from a wide range of fields, and Kane draws on their work to pose fascinating questions about the relationships among art, code, science, and media in the twenty-first century.

    The theory of narrative or narratology, which was developed in the 1960s, has helped us towards a better understanding of the how and why of narrative. Narratology and Classics is the first introduction to narratology that deals specifically with classical narrative: epic, historiography, biography, the ancient novel, but also the many narratives inserted in drama or lyric.The first part of the volume sketches the rise of narratology, and defines key narratological terms, illustrated with examples from both modern novels and Greek and Latin texts. Among the topics discussed are the identity of the role of narrator and narratees, tales within tales, metalepsis, temporal devices such as prolepsis and analepsis, retardation and acceleration, repetition and gaps, focalisation, and the thematic, symbolic, or characterising functions of space. The second part of the volume offers three close readings of famous classical texts and shows how the interpretation of these texts can be enriched by the use of narratology.The aim of this practical guide is to initiate its readers quickly into a literary theory that has established itself as a powerful new instrument in the classicist's toolkit. All concepts are clearly defined and illustrated from Greek and Latin texts, and detailed bibliographies at the end of each chapter point the way to theoretical studies and to further narratological studies of classical texts.

    In an engaging, sophisticated, and accessible presentation, Despina Kakoudaki argues that, in their narrative and cultural deployment, artificial people demarcate what it means to be human. They perform this function by offering us a non-human version of ourselves as a site of investigation. Artificial people teach us that being human, being a person or a self, is a constant process and often a matter of legal, philosophical, and political struggle.By analyzing a wide range of literary texts and films (including episodes from Twilight Zone, the fiction of Philip K. Dick, Kazuo Ishiguro’s novel Never Let Me Go, Metropolis, The Golem, Frankenstein, The Terminator, Iron Man, Blade Runner, and I, Robot), and going back to alchemy and to Aristotle’s Physics and De Anima, she tracks four foundational narrative elements in this centuries-old discourse— the fantasy of the artificial birth, the fantasy of the mechanical body, the tendency to represent artificial people as slaves, and the interpretation of artificiality as an existential trope. What unifies these investigations is the return of all four elements to the question of what constitutes the human.This focused approach to the topic of the artificial, constructed, or mechanical person allows us to reconsider the creation of artificial life.  By focusing on their historical provenance and textual versatility, Kakoudaki elucidates artificial people’s main cultural function, which is the political and existential negotiation of what it means to be a person.

    Max Weber: Modernisation as Passive Revolution shows that, even though Weber presents his science as value-free, he is best understood as an organic intellectual of the bourgeoisie, who has the mission of providing his class with an intense ethico-political education. Viewed as a whole, his writings present a new model for bourgeois hegemony in the transition to Fordism . Weber is both a sharp critic of a passive revolution in Germany tying the bourgeois class to the interests of the agrarian class, and a proponent of a more modern version of passive revolution, which would foreclose a socialist revolution by the construction of an industrial bloc consisting of the bourgeoisie and labour aristocracy. (c) 1998 Argument Verlag GmbH, Hamburg. Translated from German Max Weber: Modernisierung als passive Revolution. Kontextstudien zu Politik Philosophie und Religion im Ubergang zum Fordismus ."

    Drawing on phenomenology and the work of thinkers such as Frantz Fanon, Maurice Merleau-Ponty, and Iris Marion Young, the essays address the embodiment experiences of African Americans, Muslims, Asian Americans, Latinas, Jews, and white Americans. The volume’s focus on specific situations, temporalities, and encounters provides important context for understanding how race operates in people’s lives in ordinary settings like classrooms, dorm rooms, borderlands, elevators, and families.Emily S. Lee is Associate Professor of Philosophy at California State University, Fullerton.

    The results here provide discrepant engagements on the most pressing questions of the literary, the political, and the force of what's possible for writers in the 21st Century.

    This volume brings together three of her plays, translated into English. Olga’s Room Communist. Jew. Revolutionary. Lover. Mother. Olga Benario’s story is a searing tale of survival as alongside her fellow prisoners she struggles to hold onto her disintegrating sense of self. Based on real events of the 1930s-40s, Dea Loher’s gripping first play spans Brazilian revolution and Nazi dictatorship. Innocence A city by the sea. 14 people on the edge. Illegal immigrants afraid of being arrested for a good deed. A philosopher who burns her own books. A woman seeking forgiveness for crimes she didn’t commit. A young married man who finds fulfillment laying out corpses. A blind stripper who spends her life being watched by men she cannot see. Innocence is a darkly comic panorama of urban restlessness. Land Without Words War meets art in this intimate parable. A painter seeks the perfect image, but in K., a Middle Eastern city, she experiences the effects of war, violence and poverty, impossible to depict. Now she is forced to confront her lifelong beliefs in the value of art, and how to deal with her position in the world today.Dea Loher is one of Germany’s most highly regarded contemporary playwrights. Her plays have been translated into over fifteen languages and staged all over the world. They include Tätowierung, Stranger’s House (Fremdes Haus), Adam Geist, Innocence (Unschuld), The Final Fire (Das Letzte Feuer), Thieves (Diebe) and Black Lake (Am Schwarzen See). She has won numerous awards including the Else-Lasker-Schüler-Dramatikerpreis (2005), the Bertolt-Brecht-Preis der Stadt Augsburg (2006), and the Berliner Literaturpreis (2009). Currently living in Berlin, her most recent work is a novel, Bugatti taucht auf.David Tushingham’s translations include: Mr. Kolpert, The Woman Before, Waiting Room Germany, Stranger’s House (Royal Court), The Golden Dragon, Arabian Night, Jeff Koons (ATC) and State of Emergency (Gate Theatre). He has worked as a dramaturg for numerous high-profile European institutions and is currently Artistic Advisor to the Salzburg Festival.

    Much of the material presented here was translated specifically for this book, and offers up a lost thread from the fabric of history, one we find particularly vibrant. The editors do not presume to provide a monolithic, complete, or definitive story about French anarchist individualism, nor do we propose answers, conclusions, or closure on any of the ideas presented. We sought out the writings of many of the major figures of the milieu, chose those that most compelled us, and collected them here. So, a few important people have been left out. Rirette Maitrejean makes no appearance for example (she took over publication of L'Anarchie after Libertad's death and merits our attention).We have set out to do a number of things in publishing this material. First, to provide insight on the lives of forgotten anarchists through their own writings. Far too little is known about many of the authors herein, despite the strength of their ideas, their prolific publishing accomplishments, and the mutual interest they share with many anarchists today (i.e., a strong affinity to the ideas of Max Stirner, a deep disdain for the Left, constantly developing theories on anarchist association, and an unflinching critique of authority paired with the insistence that putting an end to an old one should never mean submission to a new one). Though they played an early and prominent role in developing and propagating anarchist thought and action, their lives and writings have gone unknown or under-acknowledged for too long. Many of them led vibrant and inspiring lives as illegalists, propagandists, deserters, travelers and staunch individualists.

    Yet, this subsidy is absolutely necessary in existing society, to prevent its implosion. The critique of political economy is a thoroughly subversive business. It rejects the appearance of economic reality as a natural thing, argues that economy has not independent existence, expounds economy as political economy, and rejects as conformist rebellion those anti-capitalist perspectives that derive their rationality from the existing conceptuality of society. Subversion focuses on human conditions. Its critical subject is society unaware of itself. This book develops Marx's critique of political economy as negative theory of society. It does not conform to the patterns of the world and demands that society rids itself of all the muck of ages and founds itself anew.

    Drawing on ethnographic research and his own experiences working as an ecotour guide throughout the United States and Latin America, Robert Fletcher argues that participation in rigorous outdoor activities resonates with the particular cultural values of the white, upper-middle-class Westerners who are the majority of ecotourists. Navigating 13,000-foot mountain peaks or treacherous river rapids demands deferral of gratification, perseverance through suffering, and a willingness to assume risks in pursuit of continuous progress. In this way, characteristics originally cultivated for professional success have been transferred to the leisure realm at a moment when traditional avenues for achievement in the public sphere seem largely exhausted. At the same time, ecotourism provides a temporary escape from the ostensible ills of modern society by offering a transcendent "wilderness" experience that contrasts with the indoor, sedentary, mental labor characteristically performed by white-collar workers.

    This title comprises 46 articles in which nigh on everything is analyzed, from the smartphone to the 2010 general election, from toasties to Margaret Thatcher, from anxiety in children's literature to David Cameron's music tastes.

    A focus on "object-based" learning treats objects as vectors for dialogue across disciplines. Virtual imaging enables the object to be abstracted or circumvented, while immaterial forms of labor challenge materialist theories. This anthology surveys such reappraisals of what constitutes the "objectness" of production, with art as its focus.Among the topics it examines are the relation of the object to subjectivity; distinctions between objects and things; the significance of the object's transition from inert mass to tool or artifact; and the meanings of the everyday in the found object, repetition in the replicated or multiple object, loss in the absent object, and abjection in the formless or degraded object. It also explores artistic positions that are anti-object; theories of the experimental, liminal or mental object; and the role of objects in performance. The object becomes a prism through which to reread contemporary art and better understand its recent past.Artists surveyed includeGeorges Ad�agbo, Art in Ruins, Iain Baxter, Louise Bourgeois, Pavel B�chler, Lygia Clark, Claude Closky, Brian Collier, Jimmie Durham, Fischli & Weiss, Luca Frei, Meschac Gaba, Isa Genzken, Gruppe Geflecht, Eva Hesse, Mike Kelley, John Latham, Antje Majewski, Gustav Metzger, Cady Noland, Gabriel Orozco, Adrian Piper, Falke Pisano, Eva Rothschild, Aura Satz, Kenneth Snelson, Hito Steyerl, Josef Strau, Alina Szapocznikow, Jo�lle Tuerlinckx, Erwin WurmWriters include Homi K. Bhabha, Jack Burnham, Ewa Lajer-Burcharth, Lynne Cooke, Gillo Dorfles, Jean Fisher, Ferreira Gullar, Charles Harrison, Paulo Herkenhoff, Julia Kristeva, Bruno Latour, Bracha Lichtenberg-Ettinger, Jean-Fran�ois Lyotard, Lev Manovich, Ursula Meyer, Bruno Munari, Georges Perec, Hans-J�rg Rheinberger, Dieter Roelstraete, Howard Singerman, Nancy Spector, Marcus Steinweg, Anne Wagner, G�rard Wajcman, Slavoj Zizek

    There can be no redemptive post-human future in which the myopia and anthropocentrism of the species finds an exit and manages to emerge with ecology and life. At the same time, what has come to be known as the human - despite its normative intensity - can provide neither foundation nor critical lever in the Anthropocene epoch. Death of the PostHuman argues for a twenty-first century deconstruction of ecological and seemingly post-human futures.

    It argues that during the postcolonial and post-Holocaust era, Jewish thinkers in different parts of the world were influenced by Global South thought and mobilized this rich set of intellectual resources to confront the assimilation of normative Judaism by various incipient neo-colonial powers. By tracing the historical and conceptual lineage of this overlooked conversation, this book explores not only its epistemological opportunities, but also the internal contradictions that led to their ultimate unraveling, especially in the post-9/11 world.

    

    Assembling literary, historiographic, performative, and visual representations of gendered violence against men and women, she establishes that cultural expressions do not just follow violence but determine its very contours, and interrogates the gendered scripts underwriting the violence originating in the contested visions of what "India" means.Ambitious and ranging across disciplines, Beyond Partition offers both an overview of and nuanced new perspectives on the ways caste, identity, and class complicate representations of violence, and how such representations shape our understandings of both violence and of India.

    It argues for the enabling function of formal and symbolic constraints in sustaining desire as a source of creativity, innovation, and social change.The book begins by calling for a richer understanding of the psychoanalytic concept of the symbolic and the resources it might offer for an examination of the social link and the political sphere. The symbolic is a crucial dimension of social coexistence but cannot be reduced to the social norms, rules, and practices with which it is so often collapsed. As a dimension of human life that is introduced by language--and thus inescapably "other" with respect to the laws of nature--the symbolic is an undeniable fact of human existence. Yet the same cannot be said of the forms and practices that represent and sustain it. In designating these laws, structures, and practices as "fictions," Jacques Lacan makes clear that the symbolic is a dimension of social life that has to be created and maintained and that can also be displaced, eradicated, or rendered dysfunctional. The symbolic fictions that structure and support the social tie are therefore historicizable, emerging at specific times and in particular contexts and losing their efficacy when circumstances change. They are also fragile and ephemeral, needing to be renewed and reinvented if they are not to become outmoded or ridiculous. Therefore the aim of this study is not to call for a return to traditional symbolic laws but to reflect on the relationship between the symbolic in its most elementary or structural form and the function of constraints and limits.McNulty analyzes examples of "experimental" (as opposed to "normative") articulations of the symbolic and their creative use of formal limits and constraints not as mere prohibitions or rules but as "enabling constraints" that favor the exercise of freedom. The first part examines practices that conceive of subjective freedom as enabled by the struggle with constraints or limits, from the transference that structures the "minimal social link" of psychoanalysis to constrained relationships between two or more people in the context of political and social movements. Examples discussed range from the spiritual practices and social legacies of Moses, Jesus, and Teresa of Avila to the political philosophy of Hannah Arendt and Jacques Ranci're. The second part is devoted to legal and political debates surrounding the function of the written law. It isolates the law's function as a symbolic limit or constraint as distinct from its content and representational character. The analysis draws on Mosaic law traditions, the political theology of Paul, and twentieth-century treatments of written law in the work of Carl Schmitt, Walter Benjamin, Sigmund Freud, Pierre Legendre, and Alain Badiou. In conclusion, the study considers the relationship between will and constraint in Kant's aesthetic philosophy and in the experimental literary works of the collective Oulipo.

    It was consolidated in the period following September 11, 2001. It is a name, a discursive site, a signifier at once flexible and constrained--indeed, itis a geopolitical agon, in and around which some of the most pressing aporias of modernity, enlightenment, liberalism, and reformation are worked out.At this discursive site are many metonyms for Islam: the veiled or "pious" Muslim woman, the militant, the minority Muslim injured by Western free speech. Each of these figures functions as a cipher enabling repeated encounters with the question "How do we free ourselves from freedom?" Again and again, freedom is imagined as Western, modern, imperial--a dark imposition of Enlightenment. The pious and injured Muslim who desires his or her own enslavement is imagined as freedom's other.At Freedom's Limit is an intervention into current debates regarding religion, secularism, and Islam and provides a deep critique of the anthropology and sociology of Islam that have consolidated this formation. It shows that, even as this Islam gains increasing traction in cultural production from television shows to movies to novels, the most intricate contestations of Islam so construed are to be found in the work of Muslim writers and painters.This book includes extended readings of jihadist proclamations; postcolonial law; responses to law from minorities in Muslim-majority societies; Islamophobic films; the novels of Leila Aboulela, Mohammed Hanif, and Nadeem Aslam; and the paintings of Komail Aijazuddin.

    

    As she describes it: "I decided to adapt this historic political statement by censoring and hiding the parts of the text that are no longer in force and highlighting some other redesigned sentences that, for me, form a more accurate portrait of the People's Republic of China in the twenty-first century." "Party" is published in a limited edition of 750 copies and is certain to quickly become a photo-book classic.

    Through an in-depth analysis of the written and visual rhetoric and subsequent activities of these influential 'claims-makers', Frawley argues that happiness became a serious political issue not because of a growing unhappiness in society nor a demand 'on the ground' for new knowledge about it, but rather because influential and dedicated 'insiders' took the issue on at a cultural moment when problems cast in emotional terms were particularly likely to make an impact.Emerging from the analysis is the observation that, while apparently positive and light-hearted, the concern with happiness implicitly affirms a 'vulnerability' model of human functioning, encourages a morality of low expectations, and in spite of the radical language used to describe it, is ultimately conservative and ideally suited to an era of 'no alternative' (to capitalism).

    The history of visual technologies reveals a centuries-long project aimed at controlling light. In this book, Sean Cubitt traces a genealogy of the dominant visual media of the twenty-first century—digital video, film, and photography—through a history of materials and practices that begins with the inventions of intaglio printing and oil painting. Attending to the specificities of inks and pigments, cathode ray tubes, color film, lenses, screens, and chips, Cubitt argues that we have moved from a hierarchical visual culture focused on semantic values to a more democratic but value-free numerical commodity.Cubitt begins with the invisibility of black, then builds from line to surface to volume and space. He describes Rembrandt's attempts to achieve pure black by tricking the viewer and the rise of geometry as a governing principle in visual technology, seen in Dürer, Hogarth, and Disney, among others. He finds the origins of central features of digital imaging in nineteenth-century printmaking; examines the clash between the physics and psychology of color; explores the representation of space in shadows, layers, and projection; discusses modes of temporal order in still photography, cinema, television, and digital video; and considers the implications of a political aesthetics of visual technology.

    

    In The Limits of Okinawa, Wendy Matsumura traces the emergence of this sense of Okinawan difference, showing how local and mainland capitalists, intellectuals, and politicians attempted to resolve clashes with labor by appealing to the idea of a unified Okinawan community. Their numerous confrontations with small producers and cultivators who refused to be exploited for the sake of this ideal produced and reproduced “Okinawa” as an organic, transhistorical entity. Informed by recent Marxist attempts to expand the understanding of the capitalist mode of production to include the production of subjectivity, Matsumura provides a new understanding of Okinawa's place in Japanese and world history, and it establishes a new locus for considering the relationships between empire, capital, nation, and identity.

    and South Africa in the early twentieth century, Waste of a White Skin focuses on the American Carnegie Corporation's study of race in South Africa, the Poor White Study, and its influence on the creation of apartheid.This book demonstrates the ways in which U.S. elites supported apartheid and Afrikaner Nationalism in the critical period prior to 1948 through philanthropic interventions and shaping scholarly knowledge production. Rather than comparing racial democracies and their engagement with scientific racism, Willoughby-Herard outlines the ways in which a racial regime of global whiteness constitutes domestic racial policies and in part animates black consciousness in seemingly disparate and discontinuous racial democracies. This book uses key paradigms in black political thought--black feminism, black internationalism, and the black radical tradition--to provide a rich account of poverty and work. Much of the scholarship on whiteness in South Africa overlooks the complex politics of white poverty and what they mean for the making of black political action and black people's presence in the economic system.Ideal for students, scholars, and interested readers in areas related to U.S. History, African History, World History, Diaspora Studies, Race and Ethnicity, Sociology, Anthropology, and Political Science.

    Grounded in the close reading of landmark theoretical texts, while seeking to encourage the reader's critical response, Pelagia Goulimari examines: major thinkers and critics from Plato and Aristotle to Foucault, Derrida, Kristeva, Said and Butler; key concepts, themes and schools in the history of literary theory: mimesis, inspiration, reason and emotion, the self, the relation of literature to history, society, culture and ethics, feminism, poststructuralism, postcolonialism, queer theory; genres and movements in literary history: epic, tragedy, comedy, the novel; Romanticism, realism, modernism and postmodernism. Historical connections between theorists and theories are traced and the book is generously cross-referenced. With useful features such as key-point conclusions, further reading sections, descriptive text boxes, detailed headings, and with a comprehensive index, this book is the ideal introduction to anyone approaching literary theory for the first time or unfamiliar with the scope of its history.

    Through her filmmaking, writing, and cine-club activism, Dulac’s passionate defense of the cinema as a lyrical art and social practice had a major influence on twentieth century film history and theory.In Germaine Dulac: A Cinema of Sensations, Tami Williams makes unprecedented use of the filmmaker's personal papers, production files, and archival film prints to produce the first full-length historical study and critical biography of Dulac. Williams's analysis explores the artistic and sociopolitical currents that shaped Dulac's approach to cinema while interrogating the ground breaking techniques and strategies she used to critique conservative notions of gender and sexuality. Moving beyond the director’s work of the 1920s, Williams examines Dulac's largely ignored 1930s documentaries and newsreels establishing clear links with the more experimental impressionist and abstract works of her early period.This vivid portrait will be of interest to general readers, as well as to scholars of cinema and visual culture, performance, French history, women’s studies, queer cinema, in addition to studies of narrative avant-garde, experimental, and documentary film history and theory.

    Combining literary analysis, legal history, and visual culture, Ellen Samuels traces the evolution of the “fantasy of identification”—the powerful belief that embodied social identities are fixed, verifiable, and visible through modern science. From birthmarks and fingerprints to blood quantum and DNA, she examines how this fantasy has circulated between cultural representations, law, science, and policy to become one of the most powerfully institutionalized ideologies of modern society. Yet, as Samuels demonstrates, in every case, the fantasy distorts its claimed scientific basis, substituting subjective language for claimed objective fact. From its early emergence in discourses about disability fakery and fugitive slaves in the nineteenth century to its most recent manifestation in the question of sex testing at the 2012 Olympic Games, Fantasies of Identification explores the roots of modern understandings of bodily identity.

    When separated from their source, sounds seem to manifest transcendent realms, divine powers, or supernatural forces. According to legend, the philosopher Pythagoraslectured to his disciples from behind a veil, and two thousand years later, in the age of absolute music, listeners were similarly fascinated with disembodied sounds, employing various techniques to isolate sounds from their sources. With recording and radio came spatial and temporal separation ofsounds from sources, and new ways of composing music.Sound Unseen: Acousmatic Sound in Theory and Practice explores the phenomenon of acousmatic sound. An unusual and neglected word, acousmatic was first introduced into modern parlance in the mid-1960s by avant garde composer of musique concr�te Pierre Schaeffer to describe the experience of hearinga sound without seeing its cause. Working through, and often against, Schaeffer's ideas, Brian Kane presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses. Kane investigatesacousmatic sound from a number of methodological perspectives -- historical, cultural, philosophical and musical -- and provides a framework that makes sense of the many surprising and paradoxical ways that unseen sound has been understood. Finely detailed and thoroughly researched, Sound Unseenpursues unseen sounds through a stunning array of cases -- from Bayreuth to Kafka's Burrow, Apollinaire to Zizek, music and metaphysics to architecture and automata, and from Pythagoras to the present-to offer the definitive account of acousmatic sound in theory and practice.The first major study in English of Pierre Schaeffer's theory of acousmatics, Sound Unseen is an essential text for scholars of philosophy of music, electronic music, sound studies, and the history of the senses.

    His acclaimed works and celebrated collaborations with Félix Guattari have established him as a seminal figure in the fields of literary criticism and philosophy. The long-awaited publication of What is Philosophy? in English marks the culmination of Deleuze's career.Deleuze and Guattari differentiate between philosophy, science, and the arts, seeing as means of confronting chaos, and challenge the common view that philosophy is an extension of logic. The authors also discuss the similarities and distinctions between creative and philosophical writing. Fresh anecdotes from the history of philosophy illuminate the book, along with engaging discussions of composers, painters, writers, and architects.A milestone in Deleuze's collaboration with Guattari, What is Philosophy? brings a new perspective to Deleuze's studies of cinema, painting, and music, while setting a brilliant capstone upon his work.

    Coming at a crucial time in his career, the text illustrates Heidegger’s turn toward language, art, and poetry while reflecting his despair at his failure to revolutionize the German university and his hope for a more profound revolution through the German language, guided by Hölderlin’s poetry. These lectures are important for understanding Heidegger’s changing relation to politics, his turn toward Nietzsche, his thinking about the German language, and his breakthrough to a new kind of poetic thinking. First published in 1980 as volume 39 of Heidegger’s Complete Works, this graceful and rigorous English-language translation will be widely discussed in continental philosophy and literary theory.

    Unlike standard textbooks, this book does not attempt a comprehensive review of the entire field, but makes a selection of the most vibrant debates and issues.The author tackles such stimulating questions as: Can science meet the challenges of skeptics?  Should science address questions traditionally reserved for philosophy and religion? Further, does science leave room for human values, free will, and moral responsibility?Written in an accessible, jargon-free style, the text succinctly presents complex ideas in an easily understandable fashion. By using numerous examples taken from diverse areas such as evolutionary theory, paleontology, and astronomy, the author piques readers' curiosity in current scientific controversies. Concise bibliographic essays at the end of each chapter invite readers to sample ideas different from the ones offered in the text and to explore the range of opinions on each topic.Rigorous yet highly readable, this excellent invitation to the philosophy of science makes a convincing case that understanding the nature of science is essential for understanding life itself.

    Virginia Woolf, Jane Ellen Harrison, and the Spirit of Modernist Classicism discovers an intimate connection crucial to Woolf’s professional identity and intellectual and artistic development in Harrison’s controversial, feminist interpretations of Greek mythology. Mills argues that cross-reading Jane Harrison and Virginia Woolf exposes a distinctive relationship between two women intellectuals, one that does not rehearse the linearity of influence but instead demonstrates the intricacy of intertextuality—an active and transformative use of one body of writing by another writer—that makes of Virginia Woolf’s modernism a specifically feminist amplification. This cross-reading reveals a dimension of modernism that has been overlooked or minimized: Mills demonstrates that the questions preoccupying Harrison also resonated with Woolf, who adapted Harrison’s ideas to her own intellectual, political, and literary pursuits.   To an extent, Virginia Woolf, Jane Ellen Harrison, and the Spirit of Modernist Classicism participates in an act of classical recovery. It is an effort to revive and reclaim Harrison’s work and to illustrate the degree to which her cultural, political, and scholastic example informed one of the major modernist voices of the twentieth century.

    Focusing on the Mishnah, a Palestinian legal codex compiled around the turn of the third century CE, Mira Balberg shows how the rabbis constructed the processes of contracting, conveying, and managing ritual impurity as ways of negotiating the relations between one’s self and one’s body and, more broadly, the relations between one’s self and one’s human and nonhuman environments. With their heightened emphasis on subjectivity, consciousness, and self-reflection, the rabbis reinvented biblically inherited language and practices in a way that resonated with central cultural concerns and intellectual commitments of the Greco-Roman Mediterranean world. Purity, Body, and Self in Early Rabbinic Literature adds a new dimension to the study of practices of self-making in antiquity by suggesting that not only philosophical exercises but also legal paradigms functioned as sites through which the self was shaped and improved.

    In light of the challenges of globalization, multi-cultural communities and post-nation state democracy, the book interrogates the borders of ethics and politics and roots itself in debates about post-secular, post-Enlightenment philosophy.By defining a cinema that knows that it is no longer a competitor to Hollywood (i.e. the classic self-other construction), Elsaesser also thinks past the kind of self-exoticism or auto-ethnography that is the perpetual temptation of such a co-produced, multi-platform 'national cinema as world cinema'. Discussing key filmmakers and philosophers, like: Claire Denis and Jean-Luc Nancy; Aki Kaurismäki, abjection and Julia Kristeva; Michael Haneke, the paradoxes of Christianity and Slavoj Zizek; Fatih Akin, Alain Badiou and Jacques Rancière, Elsaesser is able to approach European cinema and assesses its key questions within a global context. His combination of political and philosophical thinking will surely ground the debate in film philosophy for years to come.

    However, Protestant forms ofChristianity now flourish both in Haiti and beyond. In the Bahamas, whereapproximately one in five people are now Haitian-born or Haitian-descended, Protestantism has become the majority religion for immigrant Haitians.In My Soul Is in Haiti, Bertin M. Louis, Jr. hascombined multi-sited ethnographic research in the United States, Haiti, and theBahamas with a transnational framework to analyze why Protestantism hasappealed to the Haitian diaspora community in the Bahamas. The volumeillustrates how devout Haitian Protestant migrants use their religiousidentities to ground themselves in a place that is hostile to them as migrants, and it also uncovers how their religious faith ties in to their belief in theneed to "save" their homeland, as they re-imagine Haiti politically and morallyas a Protestant Christian nation.This important look at transnational migration betweensecond and third world countries shows how notions of nationalism among Haitianmigrants in the Bahamas are filtered through their religious beliefs. Bystudying local transformations in the Haitian diaspora of the Bahamas, Louisoffers a greater understanding of the spread of Protestant Christianity, bothregionally and globally.

    In her engaging introduction, Petra Bueskens provides a comprehensive overview of the key de- bates in the field and their contemporary implications. The collection includes reprinted essays from impor- tant thinkers and international contributions from a diverse range of writers who offer fresh and original insights into psychoanalysis and mothering. The book represents some of the best of the new scholarship in maternal studies.” —Associate Professor Julie Stephens, College of Arts, Victoria University, Australia

    Hugely influential on critical theorists from the post-war period up to the present day, Artaud's work continues to be discussed in theatre studies, critical theory, avant-garde art, performance practice and film studies. Taking a comparative and interdisciplinary approach, reading his work alongside Daniel Paul Schreber, Georges Bataille, Lewis Carroll, Germaine Dulac and Carl Theodor Dreyer, Antonin Artaud: The Scum of the Soul delves into the heart of Artaud's creative project, situating this at the level of the material object: the paper on which he wrote, the space of performance, the film-strip and the tape recording. This illuminating book will be of major significance to readers interested in corporeal revolt and the power of gesture, shedding new light on established theories of media and performance and considering the unexplored complexities of Artaud's work as it engages with matter.

    Texture has an important sensory dimension; it expresses the feel of something and thus evokes response. Texture also encompasses broader expressions of quality and nature, relating to the weaving of cloth, a web or a narrative. Texture in Film considers texture in film as both an aspect of materiality, and in the sense of an overall fabrication. Drawing on interdisciplinary perspectives of art, literature and music, Donaldson develops a stimulating understanding of a concept that has received little detailed attention in relation to film. Texture in Film contributes to the increasing body of work aiming to renew attention to sensorial experience in the cinema, through an approach to details of filmic decision-making and evaluations of style and meaning. Case studies include Ride Lonesome, The Shooting, Vertigo, Lost Highway, The Haunting, Singin' in the Rain, and an extended examination of Bring Me the Head of Alfredo Garcia.

    By developing a new approach to Max Weber’s famous idea of a “disenchantment of the world”, and drawing on an impressively diverse set of sources, Egil Asprem opens up a broad field of inquiry that connects the histories of science, religion, philosophy, and Western esotericism.Parapsychology, occultism, and the modern natural sciences are usually viewed as distinct cultural phenomena with highly variable intellectual credentials. In spite of this view, Asprem demonstrates that all three have met with similar intellectual problems related to the intelligibility of nature, the relation of facts to values, and the dynamic of immanence and transcendence, and solved them in comparable terms.

    Eating disorders are about body-states and their relational meanings. The split of mindbody functioning is enacted in many arenas in the eating disordered patient's life. Concretely, a patient believes that disciplining or controlling his or her body is a means to psychic equilibrium and interpersonal effectiveness. The collected papers in Body-States: Interpersonal and Relational Perspectives on the Treatment of Eating Disorders elaborates the essential role of linking symptoms with their emotional and interpersonal meanings in the context of the therapy relationship so that eating disordered patients can find their way out and survive the unbearable.The contributors bridge the gaps in varied protocols for recovery, illustrating that, at its core, trust in the reliability of the humanness of the other is necessary for patients to develop, regain, or have - for the first time - a stable body. They illustrate how embodied experience must be cultivated in the patient/therapist relationship as a felt experience so patients can experience their bodies as their own, to be lived in and enjoyed, rather than as an 'other' to be managed.In this collection Petrucelli convincingly demonstrates how interpersonal and relational treatments address eating problems, body image and "problems in living." Body States: Interpersonal and Relational Perspectives on the Treatment of Eating Disorders will be essential reading for psychoanalysts, psychotherapists, psychologists, psychiatrists, social workers, and a wide range of professionals and lay readers who are interested in the topic and treatment of eating disorders.

    While Marx's "esoteric" critique of value has been rediscovered from time to time by post-Marxists who know they've found something interesting but don't quite know which end is the handle, Anglophone Marxism has tended to bury this esoteric critique beneath a more redistributionist understanding of Marx. The essays in this volume attempt to think the critique of value through to the end, and to draw out its implications for the current economic crisis; for violence, Islamism, gender relations, masculinity, and the concept of class; for revolutionary practice and agency; for the role of the state and the future of the commons; for the concepts that come down to us from Enlightenment thought: indeed, for the manifold phenomena that characterize contemporary society under a capitalism in crisis.

    Fans of IF will find this collection an abundant resource from which to draw inspiration, as you embark on becoming an author as well as a player. Contains Emily Short's overview of NPC Conversation techniques, Graham Nelson's paper surveying Natural Language as the basis for writing IF, and the seminal essay in modern IF theory and thought, "Crimes Against Mimesis" by Roger S.G. Sorolla. As a final bookend, this electronic edition of the IF Theory Reader now includes for the the first time "The Craft of Adventure," an essay series so widely-referenced by authors within this volume that it only made sense to add it as an appendix. Anyone interested in adventure games, Zork, Infidel, Trinity, Curses, Metamorphoses, So Far, Varicella, or anything in between, the interaction fiction games of Infocom, or those that came after, those that want to be authors, rather than players -- yes, You. Come in. Read. Interact. Imagine. Do. Program. Write. Be an author. Yes. Do.