Targeting cultural icons as diverse as Madonna and Spike Lee, Outlaw Culture presents a collection of essays that pulls no punches. As hooks herself notes, interrogations of popular culture can be a 'powerful site for intervention, challenge and change'. And intervene, challenge and change is what hooks does best.

    In recent years, however, the fundamental principles of the movement have influenced other academic disciplines, from sociology and politics to ethnic studies and history.And yet, while the critical race theory movement has spawned dozens of conferences and numerous books, no concise, accessible volume outlines its basic parameters and tenets. Here, then, from two of the founders of the movement, is the first primer on one of the most influential intellectual movements in American law and politics.

    It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness.This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.

    Today the general wealth of social life finds itself confronted by mutations in the mechanisms of control, from the proliferation of capitalist logistics through governance by credit and management of pedagogy. Working from and within the social poesis of life in the undercommons Moten and Harney develop and expand an array of concepts: study, debt, surround, planning, and the shipped. On the fugitive path of an historical and global blackness, the essays in this volume unsettle and invite the reader to the self-organised ensembles of social life that are launched every day and every night amid the general antagonism of the undercommons.

    Drawing data from his work as Marcos's media adviser before his defection in 1975, Primitivo Mijares esposes the massive corruption and military abuses under the regime, which has left the nation in ruins. Forty years after its first publication, the book, in this revised and annotated edition, reminds Filipinos of their past that remains a present threat.

    Jacques Rancière reveals its intrinsic link to politics by analysing what they both have in common: the delimitation of the visible and the invisible, the audible and the inaudible, the thinkable and the unthinkable, the possible and the impossible. Presented as a set of inter-linked interviews, The Politics of Aesthetics provides the most comprehensive introduction to Rancière's work to date, ranging across the history of art and politics from the Greek polis to the aesthetic revolution of the modern age. Already translated into five languages, this English edition of The Politics of Aesthetics includes a new afterword by Slavoj Zizek, an interview for the English edition, a glossary of technical terms and an extensive bibliography.

    It has been stifled by this myopic focus on the present, which is short-sighted and assimilationist.Cruising Utopia seeks to break the present stagnancy by cruising ahead. Drawing on the work of Ernst Bloch, José Esteban Muñoz recalls the queer past for guidance in presaging its future. He considers the work of seminal artists and writers such as Andy Warhol, LeRoi Jones, Frank O'Hara, Ray Johnson, Fred Herko, Samuel Delany, and Elizabeth Bishop, alongside contemporary performance and visual artists like Dynasty Handbag, My Barbarian, Luke Dowd, Tony Just, and Kevin McCarty in order to decipher the anticipatory illumination of art and its uncanny ability to open windows to the future.In a startling repudiation of what the LGBT movement has held dear, Muñoz contends that queerness is instead a futurity bound phenomenon, a "not yet here" that critically engages pragmatic presentism. Part manifesto, part love-letter to the past and the future, Cruising Utopia argues that the here and now are not enough and issues an urgent call for the revivification of the queer political imagination.

    Fisher searches for the traces of these lost futures in the work of David Peace, John Le Carré, Christopher Nolan, Joy Division, Burial and many others.

    Terms and phrases such as "the global village" and "the medium is the message" are now part of the lexicon, and McLuhan's theories continue to challenge our sensibilities and our assumptions about how and what we communicate.There has been a notable resurgence of interest in McLuhan's work in the last few years, fueled by the recent and continuing conjunctions between the cable companies and the regional phone companies, the appearance of magazines such as WiRed, and the development of new media models and information ecologies, many of which were spawned from MIT's Media Lab. In effect, media now begs to be redefined. In a new introduction to this edition of Understanding Media, Harper's editor Lewis Lapham reevaluates McLuhan's work in the light of the technological as well as the political and social changes that have occurred in the last part of this century.

    From the author of the Pulitzer Prize–winning novel The Sympathizer comes a searching exploration of the conflict Americans call the Vietnam War and Vietnamese call the American War—a conflict that lives on in the collective memory of both nations.From a kaleidoscope of cultural forms—novels, memoirs, cemeteries, monuments, films, photography, museum exhibits, video games, souvenirs, and more—Nothing Ever Dies brings a comprehensive vision of the war into sharp focus. At stake are ethical questions about how the war should be remembered by participants that include not only Americans and Vietnamese but also Laotians, Cambodians, South Koreans, and Southeast Asian Americans. Too often, memorials valorize the experience of one’s own people above all else, honoring their sacrifices while demonizing the “enemy”—or, most often, ignoring combatants and civilians on the other side altogether. Visiting sites across the United States, Southeast Asia, and Korea, Viet Thanh Nguyen provides penetrating interpretations of the way memories of the war help to enable future wars or struggle to prevent them.Drawing from this war, Nguyen offers a lesson for all wars by calling on us to recognize not only our shared humanity but our ever-present inhumanity. This is the only path to reconciliation with our foes, and with ourselves. Without reconciliation, war’s truth will be impossible to remember, and war’s trauma impossible to forget.

    By demystifying the fantasies surrounding cancer, Sontag shows cancer for what it is - just a disease. Cancer, she argues, is not a curse, not a punishment, certainly not an embarrassment and, it is highly curable, if good treatment is followed. Almost a decade later, with the outbreak of a new, stigmatized disease replete with mystifications and punitive metaphors, Sontag wrote a sequel to Illness as Metaphor, extending the argument of the earlier book to the AIDS pandemic.These two essays now published together, Illness as Metaphor and AIDS and Its Metaphors, have been translated into many languages and continue to have an enormous influence on the thinking of medical professionals and, above all, on the lives of many thousands of patients and caregivers.

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

    Zygmunt Bauman explores the silences found in debates about the Holocaust, and asks what the historical facts of the Holocaust tell us about the hidden capacities of present-day life. He finds great danger in such phenomena as the seductiveness of martyrdom; going to extremes in the name of safety; the insidious effects of tragic memory; and the efficient, "scientific" implementation of the death penalty. Bauman writes, "Once the problem of the guilt of the Holocaust perpetrators has been by and large settled . . . the one big remaining question is the innocence of all the rest, not the least the innocence of ourselves."Among the conditions that made the mass extermination of the Holocaust possible, according to Bauman, the most decisive factor was modernity itself. Bauman's provocative interpretation counters the tendency to reduce the Holocaust to an episode in Jewish history, or to one that cannot be repeated in the West precisely because of the progressive triumph of modern civilization. He demonstrates, rather, that we must understand the events of the Holocaust as deeply rooted in the very nature of modern society and in the central categories of modern social thought.

    The experience is her own - as a woman, a poet, a feminist, and a mother - but it is an experience determined by the institution, imposed in its many variations on all women everywhere. She draws on personal materials, history, research, and literature to create a document of universal importance.One of our most distinguished poets, ADRIENNE RICH was born in Baltimore in 1929. Over the last forty years she has published more than seventeen volumes of poetry and five books of nonfiction prose, including Arts of the Possible: Essays and Conversations; On Lies, Secrets, and Silence: Blood, Bread, and Poetry; and What is Found There: Notebooks on Poetry and Politics. She has received numerous awards, including the Ruth Lilly Prize, the Lambda Book Award, the National Book Award, and the Lannan Foundation Lifetime Achievement Award. She lives in California.

    Hebdige [...] is concerned with the UK's postwar, music-centred, white working-class subcultures, from teddy boys to mods and rockers to skinheads and punks.' - Rolling StoneWith enviable precision and wit Hebdige has addressed himself to a complex topic - the meanings behind the fashionable exteriors of working-class youth subcultures - approaching them with a sophisticated theoretical apparatus that combines semiotics, the sociology of devience and Marxism and come up with a very stimulating short book - Time OutThis book is an attempt to subject the various youth-protest movements of Britain in the last 15 years to the sort of Marxist, structuralist, semiotic analytical techniques propagated by, above all, Roland Barthes. The book is recommended whole-heartedly to anyone who would like fresh ideas about some of the most stimulating music of the rock era - The New York Times