Judith Halberstam proposes “low theory” as a mode of thinking and writing that operates at many different levels at once. Low theory is derived from eccentric archives. It runs the risk of not being taken seriously. It entails a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance. Tacking back and forth between high theory and low theory, high culture and low culture, Halberstam looks for the unexpected and subversive in popular culture, avant-garde performance, and queer art. She pays particular attention to animated children’s films, revealing narratives filled with unexpected encounters between the childish, the transformative, and the queer. Failure sometimes offers more creative, cooperative, and surprising ways of being in the world, even as it forces us to face the dark side of life, love, and libido.

    This edition of the 1932 work includes the translator's introduction (by George Schwab) which highlights Schmitt's intellectual journey through the turbulent period of German history leading to the Hitlerian one-party state. It also includes Leo Strauss's analysis of Schmitt's thesis and a foreword by Tracy B. Strong placing Schmitt's work into contemporary context.

    First published in English in 1965, this timeless classic explores the psychological effects of colonialism on colonized and colonizers alike.

    Offering bold new ways of conceiving the present, Lauren Berlant describes the cruel optimism that has prevailed since the 1980s, as the social-democratic promise of the postwar period in the United States and Europe has retracted. People have remained attached to unachievable fantasies of the good life—with its promises of upward mobility, job security, political and social equality, and durable intimacy—despite evidence that liberal-capitalist societies can no longer be counted on to provide opportunities for individuals to make their lives “add up to something.”Arguing that the historical present is perceived affectively before it is understood in any other way, Berlant traces affective and aesthetic responses to the dramas of adjustment that unfold amid talk of precarity, contingency, and crisis. She suggests that our stretched-out present is characterized by new modes of temporality, and she explains why trauma theory—with its focus on reactions to the exceptional event that shatters the ordinary—is not useful for understanding the ways that people adjust over time, once crisis itself has become ordinary. Cruel Optimism is a remarkable affective history of the present.

    Michel Foucault offers an iconoclastic exploration of why we feel compelled to continually analyze and discuss sex, and of the social and mental mechanisms of power that cause us to direct the questions of what we are to what our sexuality is.

    There is no more proper instrument of analysis of our contemporary myths than this book—one of the most significant works in French theory, and one that has transformed the way readers and philosophers view the world around them.Our age is a triumph of codification. We own devices that bring the world to the command of our fingertips. We have access to boundless information and prodigious quantities of stuff. We decide to like or not, to believe or not, to buy or not. We pick and choose. We think we are free. Yet all around us, in pop culture, politics, mainstream media, and advertising, there are codes and symbols that govern our choices. They are the fabrications of consumer society. They express myths of success, well-being, and happiness. As Barthes sees it, these myths must be carefully deciphered, and debunked.What Barthes discerned in mass media, the fashion of plastic, and the politics of postcolonial France applies with equal force to today's social networks, the iPhone, and the images of 9/11. This new edition of Mythologies, complete and beautifully rendered by the Pulitzer Prize–winning poet, critic, and translator Richard Howard, is a consecration of Barthes's classic—a lesson in clairvoyance that is more relevant now than ever.

    Although on the surface, simians, cyborgs and women may seem an odd threesome, Haraway describes their profound link as creatures which have had a great destabilizing place in Western evolutionary technology and biology. Throughout this book, Haraway analyzes accounts, narratives, and stories of the creation of nature, living organisms, and cyborgs. At once a social reality and a science fiction, the cyborg--a hybrid of organism and machine--represents transgressed boundaries and intense fusions of the nature/culture split. By providing an escape from rigid dualisms, the cyborg exists in a post-gender world, and as such holds immense possibilities for modern feminists. Haraway's recent book, Primate Visions, has been called outstanding, original, and brilliant, by leading scholars in the field. (First published in 1991.)

    From its publication amid the social upheavals of the 1960s up to the present, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism and everyday life in the late twentieth century. Now finally available in a superb English translation approved by the author, Debord's text remains as crucial as ever for understanding the contemporary effects of power, which are increasingly inseparable from the new virtual worlds of our rapidly changing image/information culture.

    Sylvia Wynter: On Being Human as Praxis is a critical genealogy of Wynter’s work, highlighting her insights on how race, location, and time together inform what it means to be human. The contributors explore Wynter’s stunning reconceptualization of the human in relation to concepts of blackness, modernity, urban space, the Caribbean, science studies, migratory politics, and the interconnectedness of creative and theoretical resistances. The collection includes an extensive conversation between Sylvia Wynter and Katherine McKittrick that delineates Wynter’s engagement with writers such as Frantz Fanon, W. E. B. DuBois, and Aimé Césaire, among others; the interview also reveals the ever-extending range and power of Wynter’s intellectual project,  and elucidates her attempts to rehistoricize humanness as praxis.

    Terms and phrases such as "the global village" and "the medium is the message" are now part of the lexicon, and McLuhan's theories continue to challenge our sensibilities and our assumptions about how and what we communicate.There has been a notable resurgence of interest in McLuhan's work in the last few years, fueled by the recent and continuing conjunctions between the cable companies and the regional phone companies, the appearance of magazines such as WiRed, and the development of new media models and information ecologies, many of which were spawned from MIT's Media Lab. In effect, media now begs to be redefined. In a new introduction to this edition of Understanding Media, Harper's editor Lewis Lapham reevaluates McLuhan's work in the light of the technological as well as the political and social changes that have occurred in the last part of this century.

    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.

    It has been stifled by this myopic focus on the present, which is short-sighted and assimilationist.Cruising Utopia seeks to break the present stagnancy by cruising ahead. Drawing on the work of Ernst Bloch, José Esteban Muñoz recalls the queer past for guidance in presaging its future. He considers the work of seminal artists and writers such as Andy Warhol, LeRoi Jones, Frank O'Hara, Ray Johnson, Fred Herko, Samuel Delany, and Elizabeth Bishop, alongside contemporary performance and visual artists like Dynasty Handbag, My Barbarian, Luke Dowd, Tony Just, and Kevin McCarty in order to decipher the anticipatory illumination of art and its uncanny ability to open windows to the future.In a startling repudiation of what the LGBT movement has held dear, Muñoz contends that queerness is instead a futurity bound phenomenon, a "not yet here" that critically engages pragmatic presentism. Part manifesto, part love-letter to the past and the future, Cruising Utopia argues that the here and now are not enough and issues an urgent call for the revivification of the queer political imagination.

    Bourdieu's subject is the study of culture, and his objective is most ambitious: to provide an answer to the problems raised by Kant's Critique of Judgment by showing why no judgment of taste is innocent."A complex, rich, intelligent book. It will provide the historian of the future with priceless materials and it will bring an essential contribution to sociological theory."— Fernand Braudel "One of the more distinguished contributions to social theory and research in recent years . . . There is in this book an account of culture, and a methodology of its study, rich in implication for a diversity of fields of social research. The work in some ways redefines the whole scope of cultural studies."— Anthony Giddens, Partisan Review"A book of extraordinary intelligence." — Irving Louis Horowitz, Commonweal“Bourdieu’s analysis transcends the usual analysis of conspicuous consumption in two ways: by showing that specific judgments and choices matter less than an esthetic outlook in general and by showing, moreover, that the acquisition of an esthetic outlook not only advertises upper-class prestige but helps to keep the lower orders in line. In other words, the esthetic world view serves as an instrument of domination. It serves the interests not merely of status but of power. It does this, according to Bourdieu, by emphasizing individuality, rivalry, and ‘distinction’ and by devaluing the well-being of society as a whole.”— Christopher Lasch, Vogue

    It is an insightful, sensitive and poetic book of discovery.Drawing on cartography, travels, narratives of childhood in the Caribbean, journeys across the Canadian landscape, African ancestry, histories, politics, philosophies and literature, Dionne Brand sketches the shifting borders of home and nation, the connection to place in Canada and the world beyond.The title, A Map to the Door of No Return, refers to both a place in imagination and a point in history – the Middle Passage. The quest for identity and place has profound meaning and resonance in an age of heterogenous identities.In this exquisitely written and thought-provoking new work, Dionne Brand creates a map of her own art.

    Initiating and describing a theory and method of reading the metaphors and materiality of "the wake," "the ship," "the hold," and "the weather," Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, and punishment, but also something in excess of them. In the weather, Sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.