To mark the book's twentieth anniversary, Kern provides an illuminating new preface about the breakthrough in interpretive approach that has made this a seminal work in interdisciplinary studies.From about 1880 to World War I, sweeping changes in technology and culture created new modes of understanding and experiencing time and space. Stephen Kern writes about the onrush of technics that reshaped life concretely--telephone, electric lighting, steamship, skyscraper, bicycle, cinema, plane, x-ray, machine gun-and the cultural innovations that shattered older forms of art and thought--the stream-of-consciousness novel, psychoanalysis, Cubism, simultaneous poetry, relativity, and the introduction of world standard time. Kern interprets this generation's revolutionized sense of past, present, and future, and of form, distance, and direction. This overview includes such figures as Proust Joyce, Mann, Wells, Gertrude Stein, Strindberg, Freud, Husserl, Apollinaire, Conrad, Picasso, and Einstein, as well as diverse sources of popular culture drawn from journals, newspapers, and magazines. It also treats new developments in personal and social relations including scientific management, assembly lines, urbanism, imperialism, and trench warfare. While exploring transformed spatial-temporal dimensions, the book focuses on the way new sensibilities subverted traditional values. Kern identifies a broad leveling of cultural hierarchies such as the Cubist breakdown of the conventional distinction between the prominent subject and the framing background, and he argues that these levelings parallel the challenge to aristocratic society, the rise of democracy, and the death of God. This entire reworking of time and space is shown finally to have influenced the conduct of diplomacy during the crisis of July 1914 and to havestructured the Cubist war that followed.

    They also reflect his conviction that black people in South Africa could not be liberated until they united to break their chains of servitude, a key tenet of the Black Consciousness movement that he helped found.I Write What I Like contains a selection of Biko's writings from 1969, when he became the president of the South African Students' Organization, to 1972, when he was prohibited from publishing. The collection also includes a preface by Archbishop Desmond Tutu; an introduction by Malusi and Thoko Mpumlwana, who were both involved with Biko in the Black Consciousness movement; a memoir of Biko by Father Aelred Stubbs, his longtime pastor and friend; and a new foreword by Professor Lewis Gordon.Biko's writings will inspire and educate anyone concerned with issues of racism, postcolonialism, and black nationalism.

    What is at stake in male homo/heterosexual definition? Through readings of Melville, Nietzsche, Wilde, James and Proust, the author argues that the vexed imperatives to specify straight and gay identities have become central to every important form of knowledge of the 20th century.

    James Montague travelled there for three years, observing the region's cultures and politics through the prism of football and interviewing all the major teams along the way. He soon realised that to understand the game there is to understand its people. For as much as football forms an unlikely common thread between different countries, the sport also reflects what is unique in the national characters of those who play, support and organise it.When Friday Comes is an insightful and humorous account of Montague's journey, during which he gets stoned with the Yemeni FA, harangues Iran's Deputy President at the World Cup, has a gun pulled on him by genocidal Lebanese football fans, encounters a rioting group of fanatical young Jews singing 'I'm West Ham 'til I Die' in mockney English and was made to strip and then dance for the Iraqi national team.This is a compelling travel memoir that will enlighten, surprise and entertain football fans everywhere.

    He takes us into the secret world of "Survivor" Spoilers, where avid internet users pool their knowledge to unearth the show's secrets before they are revealed on the air. He introduces us to young "Harry Potter" fans who are writing their own Hogwarts tales while executives at Warner Brothers struggle for control of their franchise. He shows us how "The Matrix" has pushed transmedia storytelling to new levels, creating a fictional world where consumers track down bits of the story across multiple media channels.Jenkins argues that struggles over convergence will redefine the face of American popular culture. Industry leaders see opportunities to direct content across many channels to increase revenue and broaden markets. At the same time, consumers envision a liberated public sphere, free of network controls, in a decentralized media environment. Sometimes corporate and grassroots efforts reinforce each other, creating closer, more rewarding relations between media producers and consumers. Sometimes these two forces are at war.Jenkins provides a riveting introduction to the world where every story gets told and every brand gets sold across multiple media platforms. He explains the cultural shift that is occurring as consumers fight for control across disparate channels, changing the way we do business, elect our leaders, and educate our children.

    In a career spanning four decades, Jackson became a global icon, selling over 400 million albums, earning thirteen Grammy awards, and spinning dance moves that captivated the world. Songs like “Billie Jean” and “Black and White” altered our national discussion of race and equality, and Jackson’s signature aesthetic, from the single white glove to the moonwalk, defined a generation. Despite years of scandal and controversy, Jackson’s ultimate legacy will always be his music.Rolling Stone contributing editor Steve Knopper delves deeply into Michael Jackson’s music and talent. From the artist’s early days with the Jackson 5, to his stratospheric success as a solo artist, to “Beat It” and “Thriller,” “Bad” and “The Man in the Mirror,” to his volatile final years, his attempted comeback, and untimely death, Knopper explores the beguiling and often contradictory forces that fueled Michael Jackson’s genius. Drawing on an amazing 400 interviews—ranging from Jackson’s relatives, friends, and key record executives to celebrities like will.i.am and Weird Al Yankovic—this critical biography puts all the elements of his career into perspective, and celebrates his triumph in art and music. This is a rare and panoramic view into the genius and influence of an incomparable talent.

    It covers an incredible range of topics and offers fresh insights on nearly every page... the author's great gift is his ability to penetrate the minds of both slaves and masters, revealing not only how they viewed themselves and each other, but also how they contradictory perceptions interacted.

    The repercussions of what went down politically both in the USAand UK back then are still very much felt today.”—Kosmo Vinyl, former manager of The Clash“The Clash are remembered as much for their blistering music as their gritty yet hopeful message to listeners worldwide. In this first serious look at The Clash’s music and meaning, post–commercial success, the authors mix thoughtful reflection with grassroots political analysis in an effort to inspire a new generation of music fans and activists to Cut the Crap.”—Craig O’Hara, author of The Philosophy of Punk: More than Noise! The Clash was an incendiary paradox of revolutionary conviction, musical ambition, and commercial drive. We Are The Clash is a gripping tale of how the band—fractured by its Top 10 success—fought to reinvent and purify itself as George Orwell’s 1984 loomed. This extraordinary effort crashed headlong into a wall of internal contradictions, personal tragedy, and rising rightwing power as personified by Ronald Reagan and Margaret Thatcher.While the world teetered on the nuclear abyss, British miners waged a life-or-death strike, and tens of thousands died from US guns in Central America, Clash cofounders Joe Strummer and Paul Simonon set out to rebuild the band after ejecting guitarist Mick Jones and drummer Topper Headon. Bolstered by coconspirators Bernard Rhodes and Kosmo Vinyl, and three twentysomething recruits—drummer Peter Howard and guitarists Nick Sheppard and Vince White—The Clash launched a desperate last stand, shattering the band just as its controversial final album, Cut the Crap, was emerging.Authors Andersen and Heibutzki weave together extensive archival research and in-depth original interviews with virtually all of the key players involved to tell a moving story of idealism undone by human frailty amid a climatic turning point for our world.

    methodologically innovative... precise and perceptive and conscious... " --Text and Performance QuarterlyWoman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color." --Chandra Talpade MohantyThe idea of Trinh T. Minh-ha is as powerful as her films... formidable... " --Village Voice... its very forms invite the reader to participate in the effort to understand how language structures lived possibilities." --ArtpaperHighly recommended for anyone struggling to understand voices and experiences of those 'we' label 'other'." --Religious Studies Review

    It provides practical information on health, visas, transport and places to stay and eat.