Racial imagery and racial representation are central to the organisation of the contemporary world but, while there are many studies of images of black and Asian people, whiteness is an invisible racial position. At the level of racial representation, whites are not of a certain race. They are just the human race, a 'colour' against which other ethnicities are always examined.In White, Richard Dyer looks beyond the apparent unremarkability of whiteness and argues for the importance of analysing images of white people. Dyer traces the representation of whiteness by whites in Western visual culture, focusing on the mass media of photography, advertising, fine art, cinema and television.Dyer examines the representation of whiteness and the white body in the contexts of Christianity, 'race' and colonialism. In a series of absorbing case studies, he discusses the representations of whiteness in muscle-man action cinema, from Italian 'peplum' movies to the Tarzan and Rambo series; shows the construction of whiteness in photography and cinema in the lighting of white and black faces, and analyses the representation of white women in end-of-empire fictions such as The Jewel in the Crown, and traces the disturbing association of whiteness with death, in vampire narratives and dystopian films such as Blade Runner and the Aliens trilogy.

    A Yale philosopher identifies the ten pillars of fascist politics, and charts their horrifying rise and deep history.As the child of refugees of World War II Europe and a renowned philosopher and scholar of propaganda, Jason Stanley has a deep understanding of how democratic societies can be vulnerable to fascism: Nations don't have to be fascist to suffer from fascist politics. In fact, fascism's roots have been present in the United States for more than a century. Alarmed by the pervasive rise of fascist tactics both at home and around the globe, Stanley focuses here on the structures that unite them, laying out and analyzing the ten pillars of fascist politics--the language and beliefs that separate people into an "us" and a "them." He knits together reflections on history, philosophy, sociology, and critical race theory with stories from contemporary Hungary, Poland, India, Myanmar, and the United States, among other nations. He makes clear the immense danger of underestimating the cumulative power of these tactics, which include exploiting a mythic version of a nation's past; propaganda that twists the language of democratic ideals against themselves; anti-intellectualism directed against universities and experts; law and order politics predicated on the assumption that members of minority groups are criminals; and fierce attacks on labor groups and welfare. These mechanisms all build on one another, creating and reinforcing divisions and shaping a society vulnerable to the appeals of authoritarian leadership.By uncovering disturbing patterns that are as prevalent today as ever, Stanley reveals that the stuff of politics—charged by rhetoric and myth—can quickly become policy and reality. Only by recognizing fascists politics, he argues, may we resist its most harmful effects and return to democratic ideals.

    An examination of the Scientific Revolution that shows how the mechanistic world view of modern science has sanctioned the exploitation of nature, unrestrained commercial expansion, and a new socioeconomic order that subordinates women.

    He has seen children murdered for sport in Gaza and petty thugs elevated into war heroes in the Balkans. Hedges, who is also a former divinity student, has seen war at its worst and knows too well that to those who pass through it, war can be exhilarating and even addictive: "It gives us purpose, meaning, a reason for living."Drawing on his own experience and on the literature of combat from Homer to Michael Herr, Hedges shows how war seduces not just those on the front lines but entire societies, corrupting politics, destroying culture, and perverting the most basic human desires. Mixing hard-nosed realism with profound moral and philosophical insight, War Is a Force That Gives Us Meaning is a work of terrible power and redemptive clarity whose truths have never been more necessary.Listening Length: 6 hours and 27 minutes

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    This second edition, newly introduced by Marcuse scholar Douglas Kellner, presents Marcuse's best-selling work to another generation of readers in the context of contemporary events.

    This reissue of a classic will reintroduce readers to Lévi-Strauss’s understanding of man and society in terms of individuals—kinship, social organization, religion, mythology, and art.

    Born in Martinique in 1928, Glissant earned a doctorate from the Sorbonne. When he returned to his native land in the mid-sixties, his writing began to focus on the idea of a "relational poetics," which laid the groundwork for the "créolité" movement, fueled by the understanding that Caribbean culture and identity are the positive products of a complex and multiple set of local historical circumstances. Some of the metaphors of local identity Glissant favored—the hinterland (or lack of it), the maroon (or runaway slave), the creole language—proved lasting and influential.In Poetics of Relation, Glissant turns the concrete particulars of Caribbean reality into a complex, energetic vision of a world in transformation. He sees the Antilles as enduring suffering imposed by history, yet as a place whose unique interactions will one day produce an emerging global consensus. Arguing that the writer alone can tap the unconscious of a people and apprehend its multiform culture to provide forms of memory capable of transcending "nonhistory," Glissant defines his "poetics of relation"—both aesthetic and political—as a transformative mode of history, capable of enunciating and making concrete a French-Caribbean reality with a self-defined past and future. Glissant's notions of identity as constructed in relation and not in isolation are germane not only to discussions of Caribbean creolization but also to our understanding of U.S. multiculturalism. In Glissant's view, we come to see that relation in all its senses—telling, listening, connecting, and the parallel consciousness of self and surroundings—is the key to transforming mentalities and reshaping societies.This translation of Glissant's work preserves the resonating quality of his prose and makes the richness and ambiguities of his voice accessible to readers in English.

    Arnold seeks to find out what culture really is, what good it can do, and if it is really necessary. He contrasts culture, which he calls the study of perfection, with anarchy, the mood of unrest and uncertainty that pervaded mid-Victorian England. This edition reproduces the original book version, revealing the immediate historical context and controversy of the piece. The introduction and notes broaden out the interpretative approach to Arnold's text, elaborating on the complexities of the religious context. The book also reinforces the continued importance of Arnold's ideas its influences in the face of the challenges of multi-culturalism and post-modernism.

    In Coming Apart, Charles Murray explores the formation of American classes that are different in kind from anything we have ever known, focusing on whites as a way of driving home the fact that the trends he describes do not break along lines of race or ethnicity. Drawing on five decades of statistics and research, Coming Apart demonstrates that a new upper class and a new lower class have diverged so far in core behaviors and values that they barely recognize their underlying American kinship—divergence that has nothing to do with income inequality and that has grown during good economic times and bad. The top and bottom of white America increasingly live in different cultures, Murray argues, with the powerful upper class living in enclaves surrounded by their own kind, ignorant about life in mainstream America, and the lower class suffering from erosions of family and community life that strike at the heart of the pursuit of happiness. That divergence puts the success of the American project at risk. The evidence in Coming Apart is about white America. Its message is about all of America.

    It also radicallly alters the general nature of daily life and the most personal aspects of human activity. In fact, one of the most distinctive features of modernity is the increasing interconnection between globalizing influences and personal dispositions. The author analyzes the nature of this interconnection and provides a conceptual vocabulary for it, in the process providing a major rethinking of the nature of modernity and a reworking of basic premises of sociological analysis.Building on the ideas set out in the authors The Consequences of Modernity, this book focuses on the self and the emergence of new mechanisms of self-identity that are shaped by—yet also shape—the institutions of modernity. The author argues that the self is not a passive entity, determined by external influences. Rather, in forging their self-identities, no matter how local their contexts of action, individuals contribute to and directly promote social influences that are global in their consequences and implications.The author sketches the contours of the he calls "high modernity"—the world of our day—and considers its ramifications for the self and self-identity. In this context, he analyzes the meaning to the self of such concepts as trust, fate, risk, and security and goes on the examine the "sequestration of experience," the process by which high modernity separates day-to-day social life from a variety of experiences and broad issues of morality. The author demonstrates how personal meaninglessness—the feeling that life has nothing worthwhile to offer—becomes a fundamental psychic problem in circumstances of high modernity. The book concludes with a discussion of "life politics," a politics of selfactualization operating on both the individual and collective levels.

    Based on eighteen months of fieldwork in a racially diverse working-class high school, Dude, You're a Fag sheds new light on masculinity both as a field of meaning and as a set of social practices. C. J. Pascoe's unorthodox approach analyzes masculinity as not only a gendered process but also a sexual one. She demonstrates how the "specter of the fag" becomes a disciplinary mechanism for regulating heterosexual as well as homosexual boys and how the "fag discourse" is as much tied to gender as it is to sexuality.

    This ironic perspective on the human condition is valuable but it cannot advance liberalism's social and political goals. In fact, Rorty believes that it is literature and not philosophy that can do this, by promoting a genuine sense of human solidarity. Specifically, it is novelists such as Orwell and Nabokov who succeed in awakening us to the cruelty of particular social practices and individual attitudes. Thus, a truly liberal culture would fuse the private, individual freedom of the ironic, philosophical perspective with the public project of human solidarity as it is engendered through the insights and sensibilities of great writers. Rorty uses a wide range of references--from philosophy to social theory to literary criticism--to elucidate his beliefs.

    The modern turn to subjectivity, with its attendant rejection of an objective order of reason, has led—it seems to many—to mere subjectivism at the mildest and to sheer nihilism at the worst. Many critics believe that the modern order has no moral backbone and has proved corrosive to all that might foster human good. Taylor rejects this view. He argues that, properly understood, our modern notion of the self provides a framework that more than compensates for the abandonment of substantive notions of rationality.The major insight of Sources of the Self is that modern subjectivity, in all its epistemological, aesthetic, and political ramifications, has its roots in ideas of human good. After first arguing that contemporary philosophers have ignored how self and good connect, the author defines the modern identity by describing its genesis. His effort to uncover and map our moral sources leads to novel interpretations of most of the figures and movements in the modern tradition. Taylor shows that the modern turn inward is not disastrous but is in fact the result of our long efforts to define and reach the good. At the heart of this definition he finds what he calls the affirmation of ordinary life, a value which has decisively if not completely replaced an older conception of reason as connected to a hierarchy based on birth and wealth. In telling the story of a revolution whose proponents have been Augustine, Montaigne, Luther, and a host of others, Taylor's goal is in part to make sure we do not lose sight of their goal and endanger all that has been achieved. Sources of the Self provides a decisive defense of the modern order and a sharp rebuff to its critics.

    Dr. Frye offers, in addition, challenging and stimulating ideas for the teaching of literature at lower school levels, designed both to promote an early interest and to lead the student to the knowledge and kaleidoscopic experience found in the study of literature.Dr. Frye's proposals for the teaching of literature include an early emphasis on poetry, the "central and original literary form," intensive study of the Bible, as literature, and the Greek and Latin classics, as these embody all the great enduring themes of western man, and study of the great literary forms: tragedy and comedy, romance and irony.