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.

    Taking the self out feels like obeying a gag order - pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature." - from HeroinesOn the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it - from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism - she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor" and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.

    . . Patterns of Culture is a signpost on the road to a freer and more tolerant life." -- New York TimesA remarkable introduction to cultural studies, Patterns of Culture is an eloquent declaration of the role of culture in shaping human life. In this fascinating work, the renowned anthropologist Ruth Benedict compares three societies -- the Zuni of the southwestern United States, the Kwakiutl of western Canada, and the Dobuans of Melanesia -- and demonstrates the diversity of behaviors in them. Benedict's groundbreaking study shows that a unique configuration of traits defines each human culture and she examines the relationship between culture and the individual. Featuring prefatory remarks by Franz Boas, Margaret Mead, and Louise Lamphere, this provocative work ultimately explores what it means to be human."That today the modern world is on such easy terms with the concept of culture . . . is in very great part due to this book." -- Margaret Mead"Benedict's Patterns of Culture is a foundational text in teaching us the value of diversity. Her hope for the future still has resonance in the twenty-first century: that recognition of cultural relativity will create an appreciation for 'the coexisting and equally valid patterns of life which mankind has created for itself from the raw materials of existence.'" -- from the new foreword by Louise Lamphere, past president of the American Anthrolopological AssociationRuth Benedict (1887-1948) was one of the most eminent anthropologists of the twentieth century. Her profoundly influential books Patterns of Culture and The Chrysanthemum and the Sword: Patterns of Japanese Culture were bestsellers when they were first published, and they have remained indispensable works for the study of culture in the many decades since.

    The text has influenced thinkers such as Judith Butler, Ernesto Laclau and Slavoj Žižek.The piece is, in fact, an extract from a much longer book, On the Reproduction of Capitalism, until now unavailable in English. Its publication makes possible a reappraisal of seminal Althusserian texts already available in English, their place in Althusser’s oeuvre and the relevance of his ideas for contemporary theory. On the Reproduction of Capitalism develops Althusser’s conception of historical materialism, outlining the conditions of reproduction in capitalist society and the revolutionary struggle for its overthrow.Written in the afterglow of May 1968, the text addresses a question that continues to haunt us today: in a society that proclaims its attachment to the ideals of liberty and equality, why do we witness the ever-renewed reproduction of relations of domination? Both a conceptually innovative text and a key theoretical tool for activists, On the Reproduction of Capitalism is an essential addition to the corpus of the twentieth-century Left.

    . . . In its general theoretical argument on the relations of culture to economy, but also in its specialized concentration, Noise has much that is of importance to critical theory today.” SubStance“For Attali, music is not simply a reflection of culture, but a harbinger of change, an anticipatory abstraction of the shape of things to come. The book’s title refers specifically to the reception of musics that sonically rival normative social orders. Noise is Attali’s metaphor for a broad, historical vanguardism, for the radical soundscapes of the western continuum that express structurally the course of social development.” EthnomusicologyJacques Attali is the author of numerous books, including Millennium: Winners and Losers in the Coming World Order and Labyrinth in Culture and Society.

    Analyzing cultural practices such as anthropology, travel writing, collecting, and museum displays of tribal art, James Clifford shows authoritative accounts of other ways of life to be contingent fictions, now actively contested in post-colonial contexts. His critique raises questions of global significance: Who has the authority to speak for any group's identity and authenticity? What are the essential elements and boundaries of a culture? How do self and "the other" clash in the encounters of ethnography, travel, and modern interethnic relations?In chapters devoted to the history of anthropology, Clifford discusses the work of Malinowski, Mead, Griaule, L�vi-Strauss, Turner, Geertz, and other influential scholars. He also explores the affinity of ethnography with avant-garde art and writing, recovering a subversive, self-reflexive cultural criticism. The surrealists' encounters with Paris or New York, the work of Georges Bataille and Michel Leiris in the Coll�ge de Sociologie, and the hybrid constructions of recent tribal artists offer provocative ethnographic examples that challenge familiar notions of difference and identity. In an emerging global modernity, the exotic is unexpectedly nearby, the familiar strangely distanced.

    Recently, Agamben has begun to direct his thinking to the constitution of the social and to some concrete, ethico-political conclusions concerning the state of society today, and the place of the individual within it.In Homo Sacer, Agamben aims to connect the problem of pure possibility, potentiality, and power with the problem of political and social ethics in a context where the latter has lost its previous religious, metaphysical, and cultural grounding. Taking his cue from Foucault’s fragmentary analysis of biopolitics, Agamben probes with great breadth, intensity, and acuteness the covert or implicit presence of an idea of biopolitics in the history of traditional political theory. He argues that from the earliest treatises of political theory, notably in Aristotle’s notion of man as a political animal, and throughout the history of Western thinking about sovereignty (whether of the king or the state), a notion of sovereignty as power over “life” is implicit.The reason it remains merely implicit has to do, according to Agamben, with the way the sacred, or the idea of sacrality, becomes indissociable from the idea of sovereignty. Drawing upon Carl Schmitt’s idea of the sovereign’s status as the exception to the rules he safeguards, and on anthropological research that reveals the close interlinking of the sacred and the taboo, Agamben defines the sacred person as one who can be killed and yet not sacrificed—a paradox he sees as operative in the status of the modern individual living in a system that exerts control over the collective “naked life” of all individuals.

    Nearly twenty years later, when published for the first time in English, Discourse on Colonialism inspired a new generation engaged in the Civil Rights, Black Power, and antiwar movements. Aimé Césaire eloquently describes the brutal impact of capitalism and colonialism on both the colonizer and colonized, exposing the contradictions and hypocrisy implicit in western notions of "progress" and "civilization" upon encountering the "savage," "uncultured," or "primitive." He reaffirms African values, identity, and culture, and their relevance, reminding us that "the relationship between consciousness and reality is extremely complex. . . . It is equally necessary to decolonize our minds, our inner life, at the same time that we decolonize society." An interview with Aimé Césaire by the poet René Depestre is also included.

    Nietzsche outlined a distinction between its two central forces: the Apolline, representing beauty and order, and the Dionysiac, a primal or ecstatic reaction to the sublime. He believed the combination of these states produced the highest forms of music and tragic drama, which not only reveal the truth about suffering in life, but also provide a consolation for it. Impassioned and exhilarating in its conviction, The Birth of Tragedy has become a key text in European culture and in literary criticism.