Drawing on recent work in literary criticism, the authors study how the social world of the laboratory produces papers and other “texts,”’ and how the scientific vision of reality becomes that set of statements considered, for the time being, too expensive to change. The book is based on field work done by Bruno Latour in Roger Guillemin’s laboratory at the Salk Institute and provides an important link between the sociology of modern sciences and laboratory studies in the history of science.

    He ponders the doomed library of Alexandria and personal libraries of Charles Dickens, Jorge Luis Borges, and others. He recounts stories of people who have struggled against tyranny to preserve freedom of thought—the Polish librarian who smuggled books to safety as the Nazis began their destruction of Jewish libraries; the Afghani bookseller who kept his store open through decades of unrest. Oral “memory libraries” kept alive by prisoners, libraries of banned books, the imaginary library of Count Dracula, a library of books never written.

    

    She shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires.Written with the artistic vision that has earned Toni Morrison a pre-eminent place in modern letters, Playing in the Dark will be avidly read by Morrison admirers as well as by students, critics, and scholars of American literature.

    Nationally known gender activist Riki Wilchins combines straightforward prose with concrete examples from LGBT and feminist politics, as well as her own life, to guide the reader through the ideas that have forever altered our understanding of bodies, sex and desire. This is that rare postmodern theory book that combines accessibility, passion, personal experience and applied politics, noting at every turn why these ideas matter and how they can affect your daily life.Riki Wilchins is the founding executive director of the Gender Public Advocacy Coalition. The author of Read My Lips and GenderQueer. She was selected by Time magazine as one of “100 Civic Innovators for the 21st Century.”

    This diverse and powerful body of literature has established a specific practice of post-colonial writing in cultures as various as India, Australia, the West Indies and Canada, and has challenged both the traditional canon and dominant ideas of literature and culture.The Empire Writes Back was the first major theoretical account of a wide range of post-colonial texts and their relation to the larger issues of post-colonial culture, and remains one of the most significant works published in this field. The authors, three leading figures in post-colonial studies, open up debates about the interrelationships of post-colonial literatures, investigate the powerful forces acting on language in the post-colonial text, and show how these texts constitute a radical critique of Eurocentric notions of literature and language.This book is brilliant not only for its incisive analysis, but for its accessibility for readers new to the field. Now with an additional chapter and an updated bibliography, The Empire Writes Back is essential for contemporary post-colonial studies.

    

    In Female Masculinity Jack Halberstam takes aim at the protected status of male masculinity and shows that female masculinity has offered a distinct alternative to it for well over two hundred years. Providing the first full-length study on this subject, Halberstam catalogs the diversity of gender expressions among masculine women from nineteenth-century pre-lesbian practices to contemporary drag king performances.Through detailed textual readings as well as empirical research, Halberstam uncovers a hidden history of female masculinities while arguing for a more nuanced understanding of gender categories that would incorporate rather than pathologize them. He rereads Anne Lister's diaries and Radclyffe Hall's The Well of Loneliness as foundational assertions of female masculine identity. He considers the enigma of the stone butch and the politics surrounding butch/femme roles within lesbian communities. He also explores issues of transsexuality among "transgender dykes"---lesbians who pass as men---and female-to-male transsexuals who may find the label of "lesbian" a temporary refuge. Halberstam also tackles such topics as women and boxing, butches in Hollywood and independent cinema, and the phenomenon of male impersonators.Female Masculinity signals a new understanding of masculine behaviors and identities, and a new direction in interdisciplinary queer scholarship. Illustrated with nearly forty photographs, including portraits, film stills, and drag king performance shots, this book provides an extensive record of the wide range of female masculinities. And as Halberstam clearly demonstrates, female masculinity is not some bad imitation of virility, but a lively and dramatic staging of hybrid and minority genders.

    Never before, Lapham argues, have voices of protest been so locked out of the mainstream conversation, so marginalized and muted by a government that recklessly disregards civil liberties. In the midst of the “war on terror,” we face a crisis of democracy as serious as any in our history. Gag Rule is a rousing and necessary call to action in defense of the right to raise our voices and have those voices heard.

    Organized historically, these essays provide a sense of the major turning points in feminist theory.Contributors include: Norma Alarcon, Linda Alcoff, Michele Barrett, Elsa Barkley Brown, Judith Butler, Nancy Chodorow, Patricia Hill Collins, Simone de Beauvoir, Shulamith Firestone, Nancy Fraser, Carol Gilligan, Heidi Hartmann, Nancy C. M. Hartsock, Luce Irigaray, Catharine MacKinnon, Uma Narayan, Linda Nicholson, Ellen Rooney, Gayle Rubin, Gayatri Spivak, Wendy W. Williams and Monique Wittig.

    Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan.Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.

    

    Nursing Theorists and Their Work, 9th Edition provides you with an in-depth look at 39 theorists of historical, international, and significant importance. This new edition has been updated with an improved writing style, added case studies, critical thinking activities, and in-depth objective critiques of nursing theories that help bridge the gap between theory and application. In addition, the six levels of abstraction (philosophy, conceptual models, grand theory, theory, middle-range theory, and future of nursing theory) are graphically depicted throughout the book to help you understand the context of the various theories.

    Since the foundation of the modern discipline of art history in Germany in the late eighteenth century, debates about art and its histories have intensified. Historians, philosophers, psychologists, and anthropologists among others have changed our notions of what art history has been, is, and might be. The Art of Art History is a unique guide to understanding art history through a critical reading of the field's most innovative and influential texts over the past two centuries. Each section focuses on a key issue: aesthetics, style, history as an art, iconography and semiology, gender, modernity and postmodernity, deconstruction and museology. More than thirty readings from writers as diverse as Winckelmann, Kant, Gombrich, Warburg, Panofsky, Heidegger, Lisa Tickner, Meyer Schapiro, Jacques Derrida, Mary Kelly, Michel Foucault, Rosalind Krauss, Louis Marin, Margaret Iversen, and Nestor Canclini are brought together, and Donald Preziosi's introductions to each topic provide background information, bibliographies, and critical elucidations of the issues at stake. His own concluding essay is an important and original contribution to scholarship in the field.Contents:Art history : making the visible legible by Donald PreziosiReflections on the imitation of Greek works in painting and sculpture by Johann Joachim WinckelmannWinckelmann divided : mourning the death of art history by Whitney DavisPatterns of intention by Michael BaxandallWhat is enlightenment? ; The critique of judgement by Immanuel KantPhilosophy of fine art by G.W.F. HegelPrinciples of art history by Heinrich Wölfflin"Form," nineteenth-century metaphysics, and the problem of art historical description by David SummersStyle by Meyer SchapiroStyle by Ernst GombrichLeading characteristics of the late Roman "Kunstwollen" by Alois RieglImages from the region of the Pueblo Indians of North America by Aby WarburgWarburg's concept of "Kulturwissenschaft" and its meaning for aesthetics by Edgar WindRetrieving Warburg's tradition by Margaret IversenSemiotics and iconography by Hubert DamischSemiotics and art history : a discussion of context and senders by Mieke Bal and Norman Bryson"Et in Arcadia ego" : Poussin and the elegiac tradition by E. PanofskyToward a theory of reading in the visual arts : Poussin's "The Arcadian shepherds" by Louis MarinSculpture in the expanded field by Rosalind KraussWhat is an author? by Michel FoucaultThe allegorical impulse : toward a theory of postmodernism by Craig OwensMapping the postmodern by Andreas HuyssenThe art historical canon : sins of omission by Nanette SalomonSexuality andbyin representation : five British artists by Lisa TicknerNo essential femininity by Mary Kelly and Paul SmithPostfeminism, feminist pleasures, and embodied theories of art by Amelia JonesThe temptation of new perspectives by Stephen MelvilleThe origin of the work of art by Martin HeideggerThe still life as a personal object : a note on Heidegger and van Gogh by Meyer SchapiroRestitutions of the truth in pointing ["pointure"] by Jacques DerridaOrientalism and the exhibitionary order by Timothy MitchellThe art museum as ritual by Carol DuncanInventing the "postcolonial" : hybridity and constituency in contemporary curating by Annie E. CoombesRemaking passports : visual thought in the debate on multiculturalism by Néstor García CancliniThe art of art history by Donald Preziosi

    Through the notion of trauma, she contends, we come to a new understanding that permits history to arise where immediate understanding is impossible. In her wide-ranging discussion, Caruth engages Freud's theory of trauma as outlined in Moses and Monotheism and Beyond the Pleasure Principle; the notion of reference and the figure of the falling body in de Man, Kleist, and Kant; the narratives of personal catastrophe in Hiroshima mon amour; and the traumatic address in Lecompte's reinterpretation of Freud's narrative of the dream of the burning child.