Scenes of Subjection examines the forms of domination that usually go undetected; in particular, the encroachments of power that take place through notions of humanity, enjoyment, protection, rights, and consent. By looking at slave narratives, plantation diaries, popular theater, slave performance, freedmen's primers, and legal cases, Hartman investigates a wide variety of "scenes" ranging from the auction block and minstrel show to the staging of the self-possessed and rights-bearing individual of freedom.While attentive to the performance of power--the terrible spectacles of slaveholders' dominion and the innocent amusements designed to abase and pacify the enslaved--and the entanglements of pleasure and terror in these displays of mastery, Hartman also examines the possibilities for resistance, redress and transformation embodied in black performance and everyday practice.This important study contends that despite the legal abolition of slavery, emergent notions of individual will and responsibility revealed the tragic continuities between slavery and freedom. Bold and persuasively argued, Scenes of Subjection will engage readers in a broad range of historical, literary, and cultural studies.

    Making remarkable connections across brain function, myth, and anthropology, Dr. Shlain shows why pre-literate cultures were principally informed by holistic, right-brain modes that venerated the Goddess, images, and feminine values. Writing drove cultures toward linear left-brain thinking and this shift upset the balance between men and women, initiating the decline of the feminine and ushering in patriarchal rule. Examining the cultures of the Israelites, Greeks, Christians, and Muslims, Shlain reinterprets ancient myths and parables in light of his theory. Provocative and inspiring, this book is a paradigm-shattering work that will transform your view of history and the mind.

    This book tells that story in detail, defining and illustrating key developments and themes from 1980-2000.

    Influenced by a confluence of humanism, colonialism, and racism, this mythology ignored local wisdom and indigenous innovation, deeming it primitive. Today, we have slowly come to realize that the legacy of this mythology is haunting us.Designers understand the urgency of reducing humanity’s negative environmental impact, yet perpetuate the same mythology of technology that relies on exploiting nature. Responding to climate change by building hard infrastructures and favoring high-tech homogenous design, we are ignoring millennia-old knowledge of how to live in symbiosis with nature. Without implementing soft systems that use biodiversity as a building block, designs remain inherently unsustainable.Lo―TEK, derived from Traditional Ecological Knowledge, is a cumulative body of multigenerational knowledge, practices, and beliefs, countering the idea that indigenous innovation is primitive and exists isolated from technology. It is sophisticated and designed to sustainably work with complex ecosystems.With a foreword by anthropologist Wade Davis and four chapters spanning Mountains, Forests, Deserts, and Wetlands, this book explores thousands of years of human wisdom and ingenuity from 20 countries including Peru, the Philippines, Tanzania, Kenya, Iran, Iraq, India, and Indonesia. We rediscover an ancient mythology in a contemporary context, radicalizing the spirit of human nature.

    He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media's reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database.Manovich uses concepts from film theory, art history, literary theory, and computer science and also develops new theoretical constructs, such as cultural interface, spatial montage, and cinegratography. The theory and history of cinema play a particularly important role in the book. Among other topics, Manovich discusses parallels between the histories of cinema and of new media, digital cinema, screen and montage in cinema and in new media, and historical ties between avant-garde film and new media.

    From plays to official events to grassroots protests, performance, she argues, must be taken seriously as a means of storing and transmitting knowledge. Taylor reveals how the repertoire of embodied memory—conveyed in gestures, the spoken word, movement, dance, song, and other performances—offers alternative perspectives to those derived from the written archive and is particularly useful to a reconsideration of historical processes of transnational contact. The Archive and the Repertoire invites a remapping of the Americas based on traditions of embodied practice.Examining various genres of performance including demonstrations by the children of the disappeared in Argentina, the Peruvian theatre group Yuyachkani, and televised astrological readings by Univision personality Walter Mercado, Taylor explores how the archive and the repertoire work together to make political claims, transmit traumatic memory, and forge a new sense of cultural identity. Through her consideration of performances such as Coco Fusco and Guillermo Gómez-Peña’s show Two Undiscovered Amerindians Visit . . . , Taylor illuminates how scenarios of discovery and conquest haunt the Americas, trapping even those who attempt to dismantle them. Meditating on events like those of September 11, 2001 and media representations of them, she examines both the crucial role of performance in contemporary culture and her own role as witness to and participant in hemispheric dramas. The Archive and the Repertoire is a compelling demonstration of the many ways that the study of performance enables a deeper understanding of the past and present, of ourselves and others.

    Sontag develops further the concept of 'transparency'. When anything can be photographed and photography has destroyed the boundaries and definitions of art, a viewer can approach a photograph freely with no expectations of discovering what it means. This collection of six lucid and invigorating essays, the most famous being "In Plato's Cave", make up a deep exploration of how the image has affected society.

    Through computers, the Internet, the media, and even our daily newspapers, we are awash in a seemingly endless stream of charts, maps, infographics, diagrams, and data. Visual Explanations is a navigational guide through this turbulent sea of information. The book is an essential reference for anyone involved in graphic, web, or multimedia design, as well as for educators and lecturers who use graphics in presentations or classes.Jacket design: Dmitry Krasny.Other artwork by Bonnie Scranton, Dmitry Krasny, and Weilin Wu.

    Combining examples with activities and selected readings it offers a unique resource for teachers and students in cultural studies and related fields as an introduction to this complex and central theme.

    Seasoned researchers and educators Gregory G. Colomb and Joseph M. Williams present an updated third edition of their classic handbook, whose first and second editions were written in collaboration with the late Wayne C. Booth. The Craft of Research explains how to build an argument that motivates readers to accept a claim; how to anticipate the reservations of readers and to respond to them appropriately; and how to create introductions and conclusions that answer that most demanding question, “So what?” The third edition includes an expanded discussion of the essential early stages of a research task: planning and drafting a paper. The authors have revised and fully updated their section on electronic research, emphasizing the need to distinguish between trustworthy sources (such as those found in libraries) and less reliable sources found with a quick Web search. A chapter on warrants has also been thoroughly reviewed to make this difficult subject easier for researchers Throughout, the authors have preserved the amiable tone, the reliable voice, and the sense of directness that have made this book indispensable for anyone undertaking a research project.

    The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it. Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre. Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.

    They extend from a region where the audience is pumped for tweets to a future of "neurocurating," in which paintings surveil their audience via facial recognition and eye tracking to assess their popularity and to scan for suspicious activity.In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age.What can we do when arms manufacturers sponsor museums, and some of the world's most valuable artworks are used as currency in a global futures market detached from productive work? Can we distinguish between information, fake news, and the digital white noise that bombards our everyday lives? Exploring subjects as diverse as video games, WikiLeaks files, the proliferation of freeports, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production.

    A landmark achievement as expansive, erudite, and passionate as its renowned author, Shakespeare: The Invention of the Human is the culmination of a lifetime of reading, writing about, and teaching Shakespeare. Preeminent literary critic-and ultimate authority on the western literary tradition-Harold Bloom leads us through a comprehensive reading of every one of the dramatist's plays, brilliantly illuminating each work with unrivaled warmth, wit and insight. At the same time, Bloom presents one of the boldest theses of Shakespearean scholarships: that Shakespeare not only invented the English language, but also created human nature as we know it today.

    As always, Chomsky presents his ideas vividly and accessibly, with uncompromising principle and clarifying insight.The latest volume from a long-established, trusted partnership, Power Systems shows once again that no interlocutor engages with Chomsky more effectively than David Barsamian. These interviews will inspire a new generation of readers, as well as longtime Chomsky fans eager for his latest thinking on the many crises we now confront, both at home and abroad. They confirm that Chomsky is an unparalleled resource for anyone seeking to understand our world today.

    In this elegant, witty, and ultimately profound meditation on what is beautiful, Crispin Sartwell begins with six words from six different cultures - ancient Greek's "to kalon," the Japanese idea of "wabi-sabi," Hebrew's "yapha," the Navajo concept "hozho," Sanskrit "sundara," and our own English-language "beauty." Each word becomes a door onto another way of thinking about, and looking at, what is beautiful in the world, and in our lives. The earthy and the exalted, the imperfect and the ideal: things, spaces, high art, sounds, aromas, nothingness. Sartwell writes about handfuls of beautiful things - among them, a Japanese teapot and Diana Rigg as Mrs. Emma Peel, the pleasure in a well-used hammer and in pop music and in Vermeer's "Girl in a Red Hat."In Sartwell's hands these six names of beauty -and there could be thousands more-are revealed as simple and profound ideas about our world and our selves.