Performing arts Books

Book SynopsisOffers an insightful overview of Native American representation in film. Beginning with the birth of the movie industry, this title traces changes in the cinematic depictions of Native peoples and identifies cultural and historical reasons for those changes. It looks at influential and innovative Native Americans film industry.Trade Review"This is a seminal study of how Native Americans have been portrayed in film since the start of the film industry in this country. . . . This is much more than a book for film buffs; it's about how stereotypes of Native Americans were created. As the book treats the evolution of film images of Native Americans, the reader may begin to appreciate it as a history of how white people have dealt with Native Americans, including how they have created popular stereotypes of them. . . . An elegantly thoughtful book."—Kliatt"Any filmmaker seeking to present images draped in honesty should read this book. It is an absolute must."—E. Donald Two-Rivers, author of Survivor's Medicine

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Book SynopsisThis study was written in English in the 1930s when Adorno, one of the 20th century's most influential thinkers, was living in the United States. It is a pioneering analysis of a member of what we now call the Radical Right—the now-forgotten Martin Luther Thomas, an American fascist-style demagogue who used the radio to appeal to and to manipulate his adherents.Table of Contents1. The personal element: self-characterization of the agitator 2. Thomas' method 3. The religious medium 4. Ideological bait.

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Book SynopsisThis study was written in English in the 1930s when Adorno, one of the 20th century's most influential thinkers, was living in the United States. It is a pioneering analysis of a member of what we now call the Radical Right—the now-forgotten Martin Luther Thomas, an American fascist-style demagogue who used the radio to appeal to and to manipulate his adherents.Table of Contents1. The personal element: self-characterization of the agitator 2. Thomas' method 3. The religious medium 4. Ideological bait.

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Book Synopsis The concept of “un-Americanism,” so vital to the HUAC crusade of the 1940s and 1950s, was resoundingly revived in the emotional rhetoric that followed the September 11th terrorist attacks. Today’s political and cultural climate makes it more crucial than ever to come to terms with the consequences of this earlier period of repression and with the contested claims of Americanism that it generated. “Un-American” Hollywood reopens the intense critical debate on the blacklist era and on the aesthetic and political work of the Hollywood Left. In a series of fresh case studies focusing on contexts of production and reception, the contributors offer exciting and original perspectives on the role of progressive politics within a capitalist media industry. Original essays scrutinize the work of individual practitioners, such as Robert Rossen, Joseph Losey, Jules Dassin, and Edward Dmytryk, and examine key films, including The RTrade ReviewThis is a first rate anthology giving us a fresh perspective on Hollywood and television during the blacklist era and its legacy during the Vietnam years. Reading this book from cover to cover is a valuable experience not just of discovery and knowing, but of remembering.— Film Quarterly This collection of essays represents the work of a new generation of historians who have made discoveries in the study of films from the Blacklist era which demand our attention.— John Belton, author of American Cinema/American CultureTable of ContentsAre you now or have you ever been a Christian? the strange history of The robe as political allegory / Jeff Smith Un-American : Dmytryk, Rossellini, and Christ in concrete / Erica Sheen "A living part of the class struggle" : Diego Rivera's The flower carrier and the Hollywood left / Frank Krutnik A monarch for the millions : Jewish filmmakers, social commentary, and the postwar cycle of boxing films / Peter Stanfield The violent poetry of the times : the politics of history in Daniel Mainwaring and Joseph Losey's The lawless / Doug Dibbern Dark passages : jazz and civil liberty in the postwar crime film / Sean McCann Documentary realism and the postwar left / Will Straw Cloaked in compromise : Jules Dassin's "naked" city / Rebecca Prime The progressive producer in the studio system : Adrian Scott at RKO, 1943-1947 / Jennifer Langdon-Teclaw The house I live in : Albert Maltz and the fight against anti-Semitism / Art Simon Red Hollywood in transition : the case of Robert Rossen / Brian Neve Swashbuckling, sapphire, and salt : un-American contributions to TV costume adventure series in the 1950s / Steve Neale Hollywood, the new left, and FTA / Mark Shiel Red Hollywood / Thom Anderson

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Book SynopsisMary Margaret McBride was one of the first to exploit the cultural and political importance of talk radio, pioneering the magazine-style format of many talk shows. This radio biography recreates the world of daytime radio from the 1930s through the 1950s, confirming the significance of radio to everyday life, especially for women.Trade ReviewTune in and treat yourself to Susan Ware's fascinating saga of the life and work of radio personality Mary Margaret McBride. Like McBride, Ware is at once probing and entertaining as she analyzes McBrides success from the 1930s through the 1950s, restoring McBride to her rightful place as the mother of talk radio and television. -- Lizabeth Cohen,author of A Consumers' Republic: The Politics of Mass Consumption in Postwar AmericaSincere and sometimes self-effacing, Mary Margaret was the Oprah of her day- her name a household word that might be forgotten if not for Susan Ware's carefully researched and charmingly likeable biography. * American Journalism *Drawing on archives that include McBrides radio interviews, as well as letters from former listeners, Ware begins with a description of McBrides radio show when it was at its height. * Booklist *Ware has restored McBride to a rightful place in broadcasting history. * Columbia Journalism Review *While there have been more than a few fine radio histories written by professional and nonprofessional historians in the last forty years, the last decade must be the golden age of radio scholarship...and Susan Ware's Its One OClock and Here is Mary Margaret McBride continues this current focus in radio scholarship. * Journal of American History *Table of ContentsContentsPreface and Acknowledgments Prologue: Voice of AmericaPART I The Height of the Program1 "Here Comes McBride" 2 Mary Margaret's Radio Technique3 "Under Cover of Daytime" 4 Mary Margaret's Bond with Listeners 5 "The Appetite as Voice" 6 Doing the Products PART II Becoming Mary Margaret McBride7 Listening to Lives 8 A Missouri Childhood 9 Stella 10 The Journalist and the Writer 11 Men, Marriage, and Sex 12 Af?uence and Depression 13 "I Murdered Grandma" 14 Citrus Follies 15 The War Years PART III Transitions16 Eleanor Roosevelt, Mary Margaret McBride, and Postwar Politics 17 Television 18 The Last Show: May 14, 1954 19 Cookbooks, Columns, and Commentary 20 "Good-bye, Y'all" Epilogue: Talk Shows, Then and Now Notes Index About the Author

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Book SynopsisTable of ContentsIntroduction 1. Illustrating Music: The Impossible Embodiments of the Jukebox Film 2. Dissonant Refrains: Carmen on Film 3. En Chanté: Music, Memory, and Perversity in the Films of Jacques Demy 4. Becoming-Fluid: History, Corporeality, and the Musical Spectacle Conclusion Acknowledgments Notes Index

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Book SynopsisExamining the role of performance in state-makingTrade Review"The Tourist State is a substantial work of theatrical insight and applied critical theory. It approaches the theoretical sublime, showing rich learning and originality in scaled and shrewd ways." —Rob Wilson, University of California, Santa CruzTable of ContentsContentsNote on OrthographyIntroduction: Toward a Performance Theory of the State1. The State of Nature: Governmentality, Biopoetics, Sensation2. The Class Act of Guide Maggie: Cosmopolitesse, Publics, and Participatory Anthropology3. Translation, Transnation: Theatrical Politics and Political Theater in the American Pacific4. Trafficking Race: Policy, Property, and Racial Reformation in the Tourist State5. Altered States: Global Hollywood, the Rise of Wellywood, and the Moving Image of RaceConclusion: Living in a Tourist StateAcknowledgmentsNotesGlossaryIndex

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Book SynopsisTrade Review"Werner Herzog has long avowed that he hates documentaries and does not participate in the tradition. Eric Ames’s wonderful book lets us in on an open secret: ‘Herzog has. . . added to the vitality and visibility of documentary cinema internationally for more than four decades.’ I would go further: the best of the films that Herzog has made over his long career have been those that, if not called documentaries, cannot be labeled fictions. Werner Herzog’s challenges to the documentary tradition have inevitably become part of that tradition. This book shows us how." —Linda Williams, University of California, Berkeley"Ferocious Reality is excellent. The book centers on how Herzog consistently undertakes an exploration of the limits of documentary cinema and engages with it as performative behavior, challenging its boundaries. Eric Ames analyzes a broad range of Herzog’s films and engages with an array of important theoreticians of documentary cinema. This book is first-rate and innovative." —Brad Prager, author of The Cinema of Werner Herzog: Aesthetic Ecstasy and TruthTable of ContentsContentsAcknowledgmentsThe Minnesota DeclarationIntroduction: Werner Herzog, Documentary Outsider1. Sensational BodiesGame in the SandHandicapped FutureLand of Silence and DarknessWodaabe2. Moving LandscapesThe Dark Glow of the MountainsFata Morgana, La SoufrièreLessons of DarknessWheel of Time3. Ecstatic JourneysHuie’s SermonBells from the DeepPilgrimage4. Baroque VisionsThe Great Ecstasy of Woodcarver SteinerDeath for Five VoicesGod and the Burdened5. Cultural PoliticsFitzcarraldoBallad of the Little SoldierTen Thousand Years OlderThe White Diamond6. ReenactmentsLittle Dieter Needs to FlyWings of HopeRescue Dawn7. Autobiographical ActsI Am My FilmsPortrait Werner HerzogMy Best FiendGrizzly ManConclusion: Herzog’s VéritéEncounters at the End of the WorldThe Cave of Forgotten DreamsNotesIndex

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Book SynopsisPart journalistic chronicle, part memoir, and a cultural historical odyssey, this title features the-way-it-was collection of essays that captures the birth and growth of feminist film. It introduces each essay with an autobiographical prologue that describes the intellectual, political, and personal moments from which the work arose.Trade Review“Ruby Rich reinvents both herself and her approach to film criticism, in a fascinating book that alternates autobiography and theory. She is wise and funny at the same time, never dogmatic, always allowing her discovery process to remain in clear view.”—Roger Ebert“This collection of writings by B. Ruby Rich is sure to become a classic. She has proven herself to be a courageous guide into uncharted aesthetic and political territory and, in describing so eloquently what she finds there, she does what critics aspire to but rarely achieve: she both educates and entertains.”—Sally Potter, director of the films Orlando and The Tango“This is a remarkable book. Rich has written a memoir that encourages the reader not only to see the original essays in a new context but also and especially to understand the development of an intellectual and political moment with all of its complications and personal investments.”—Judith Mayne, author of Cinema and SpectatorshipTable of ContentsPreface: Jews without Books Introduction Prologue. I found it at the movies Film in the sixties Prologue. Hippie Chick in the Art World Carolee Schneemann's Fuses Prologue. Angst and Joy on the Women's Film Festival Circuit Leni Riefenstahl: The Deceptive Myth Prologue. Life, Death and Tragic Homecoming 4. Voodoo Verite: Maya Deren's Divine Horsemen Prologue. An Iguana, Some Wolves, and the Dawn of Theory In the Name of Feminist Film Criticism Prologue. O Brave New World One Way or Another: Sara Gomez and the Cuban Experience Prologue. A Woman's Declaration of Secession from the Avant-Garde Sex and Cinema Prologue. Love's Labour Lost Misconception: Labouring under No Illusions Prologue. Cows and Hero Worship The Films of Yvonne Rainer Prologue. Knokke-Heist and the Fury that was Edinburgh Designing Desire: Chantal Akerman Prologue. Euphoria Reclaims History From Repressive Tolerance to Erotic Liberation: Maedchen in Uniform Prologue. Softball, the Goddess and Lesbian Film Culture The Right of Re-Vision: Michelle Citron's Daughter Rite Prologue. The Allure of Alchemy Femicide Investigation: Thriller Prologue. Sour Grapes She Says, He Says: The Power of the Narrator in Modernist Film Politics Prologue. Sex, Gender, and the Consumer Culture Antiporn: Soft Issue, Hard World (Not a Love Story) Prologue. Unguided Tours The Feminist Avant-Garde Prologue. Attacking the Sisters, or the Limits of Disagreement Cinefeminism and its Discontents Prologue. Libel Threats and Exile Tactics Truth, Faith and the Individual: Thought on U.S. Documentary Film Practice Prologue. Disempowerment and the Politics of Rage Lady Killers: A Question of Silence Prologue. Film Stars as Outstanding Human Beings Julie Christie Goes to Washington Prologue. Banning the Victim 21. Good Girls, Bad Girls: Joyce Chopra's Smooth Talk Prologue. The Berks and the Sex Wars Feminisims and Sexulality on the Eighties Epilogue: Charting the Eighties

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Book SynopsisA social and cultural history of African American arts activity in Los Angeles between the Second World War and the 1992 riots.Trade Review“[An] often-dazzling and truly interdisciplinary study. . . . What truly dazzles about Widener's book is its range of concerns and competencies: music, theater, visual arts, film, literature, social history, intellectual history, urban studies, politics, and on and on. . . . Black Arts West is an often-brilliant, certainly essential study for anyone interested in the black arts movement and, indeed, late twentieth-century U.S. cultural politics. “ - James Edward Smethurst, Journal of American History“The invitation of Black Arts West is to allow the reader a historic and discursive remapping of black Los Angeles so that among the ashes and debris of its most sensational and destructive moments—the Watts Riots of 1965 and the Rodney King Uprising of 1992—we see a much more complex, dynamic, and affirmative network of creative activities that date back to the influx of blacks to this region during the Second World War. Not only does he offer a remapping of the region, but also he argues that a particular aesthetic emerged as a result of the deliberate efforts of black artists to move forward by staying put in Los Angeles.” - Nicole R. Fleetwood, Art Journal“Black Arts West presents fresh, bold perspectives on race, class,power, and identity in Los Angeles. Buy a copy and dwell on it. Widener’s book will definitely get your intellectual and political juices flowing. For that and more, we are in his debt.” - Douglas Flamming, Pacific Historical Review“Widener is an extremely perceptive and subtle historian. By placing jazz and visual art alongside literature and theater while also paying attention to the relationship between race and class, his work does great service to the understanding of the interrelatedness of art and politics in the postwarperiod.” - Joe Street, American Historical Review“There is so much to recommend Daniel Widener’s Black Arts West it is hard to know where to start. . . . Widener meticulously documents the struggles of local artists and community organizations in a manner that illuminates national and even international struggles around cultural production and thus makes this book an invaluable contribution to the scholarship on postwar African American culture. It constitutes an important addition to local and regional studies of the Black Arts Movement, and to scholarly analyses of black radicalism and its relationship to African American expressive culture,the African American avant-garde, and the social movements and community organizations that created one of the most significant periods of African American artistic expression.” - Amy Abugo Ongiri, Journal of African American History“Drawing on a wide range of sources, including small arts journals, original and archived oral histories with artists, and archival documents related to the city's arts policy, Widener's narrative is detailed, fluid, and analytically complex. . . . One of the many strengths of Black Arts West is Widener's deft analysis of cultural texts across a range of genres. He is equally comfortable discussing the poetry of Jayne Cortez and Harry Dolan, the music of Horace Tapscott and Bobby Bradford, the visual art of John Outterbridge and Betye Saar, or the films of Charles Burnett and Billy Woodberry. These artists and many others are part of the tremendous wealth of information Widener presents on black arts in Los Angeles.” - Matt Delmont, American Quarterly“Black Arts West knocked my socks off. Daniel Widener’s exciting account of the ‘Watts Renaissance’ fundamentally revises our picture of contemporary L.A. art and literary scenes, and adds a crucial new chapter to the history of Black cultural radicalism during the 1960s and 1970s.”—Mike Davis, author of City of Quartz: Excavating the Future in Los Angeles“Daniel Widener’s study provides a much needed, basic analysis of the complex and turbulent black arts and culture scene in Los Angeles during the 1960s and 1970s, and the dynamic mix of politics that fueled it.”—Amiri Baraka“This is an ambitious, far-reaching, and original work that explores the meaning and importance of black culture from the post–WWII years through the Bradley years and successfully argues for the centrality of culture to African Americans’ search for freedom. It is a book that should be read by scholars and students of African American history, cultural history, and the history of Los Angeles.” -- Robert Bauman * Western Historical Quarterly *“Black Arts West presents fresh, bold perspectives on race, class, power, and identity in Los Angeles. Buy a copy and dwell on it. Widener’s book will definitely get your intellectual and political juices flowing. For that and more, we are in his debt.” -- Douglas Flamming * Pacific Historical Review *“[An] often-dazzling and truly interdisciplinary study. . . . What truly dazzles about Widener's book is its range of concerns and competencies: music, theater, visual arts, film, literature, social history, intellectual history, urban studies, politics, and on and on. . . . Black Arts West is an often-brilliant, certainly essential study for anyone interested in the black arts movement and, indeed, late twentieth-century U.S. cultural politics. “ -- James Edward Smethurst * Journal of American History *“Drawing on a wide range of sources, including small arts journals, original and archived oral histories with artists, and archival documents related to the city's arts policy, Widener's narrative is detailed, fluid, and analytically complex. . . . One of the many strengths of Black Arts West is Widener's deft analysis of cultural texts across a range of genres. He is equally comfortable discussing the poetry of Jayne Cortez and Harry Dolan, the music of Horace Tapscott and Bobby Bradford, the visual art of John Outterbridge and Betye Saar, or the films of Charles Burnett and Billy Woodberry. These artists and many others are part of the tremendous wealth of information Widener presents on black arts in Los Angeles.” -- Matt Delmont * American Quarterly *“The invitation of Black Arts West is to allow the reader a historic and discursive remapping of black Los Angeles so that among the ashes and debris of its most sensational and destructive moments—the Watts Riots of 1965 and the Rodney King Uprising of 1992—we see a much more complex, dynamic, and affirmative network of creative activities that date back to the influx of blacks to this region during the Second World War. Not only does he offer a remapping of the region, but also he argues that a particular aesthetic emerged as a result of the deliberate efforts of black artists to move forward by staying put in Los Angeles.” -- Nicole R. Fleetwood * Art Journal *“There is so much to recommend Daniel Widener’s Black Arts West it is hard to know where to start. . . . Widener meticulously documents the struggles of local artists and community organizations in a manner that illuminates national and even international struggles around cultural production and thus makes this book an invaluable contribution to the scholarship on postwar African American culture. It constitutes an important addition to local and regional studies of the Black Arts Movement, and to scholarly analyses of black radicalism and its relationship to African American expressive culture, the African American avant-garde, and the social movements and community organizations that created one of the most significant periods of African American artistic expression.” -- Amy Abugo Ongiri * Journal of African American History *“Widener is an extremely perceptive and subtle historian. By placing jazz and visual art alongside literature and theater while also paying attention to the relationship between race and class, his work does great service to the understanding of the interrelatedness of art and politics in the postwar period.” -- Joe Street * American Historical Review *Table of ContentsIllustrations ix Acknowledgments xi Introduction: Acts of Culture, or, Maybe the People Would Be the Times 1 Part I. Cultural Democracy in the Racial Metropolis 1. Hollywood Scuffle: The Second World War, Los Angeles, and the Politics of Wartime Representation 21 2. The Negro as Human Being? Desegregation and the Black Arts Imperative 52 3. Writing Watts: The Rise and Fall of Cultural Liberalism 90 Part II. Message from the Grassroots 4. Notes from the Underground: Free Jazz and Black Power in South Los Angeles 117 5. Studios in the Street: Creative Community and Visual Arts 153 6. The Arms of Criticism: The Cultural Politics of Urban Insurgency 187 Part III. Festivals and Funerals 7. An Intimate Enemy: Culture and the Contradictions of Bradleyism 221 8. How to Survive in South Central: Black Film as Class Critique 250 Epilogue 283 Notes 291 Works Cited 329 Index 353

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Book SynopsisIn Skin Acts, Michelle Ann Stephens explores the work of four iconic twentieth-century black male performers—Bert Williams, Paul Robeson, Harry Belafonte, and Bob Marley—to reveal how racial and sexual difference is both marked by and experienced in the skin.Trade Review“In Skin Acts, Michelle Ann Stephens provides a valuable contribution to the study of race and representation by offering a thorough account of the relationship between black skin and white gaze and the production of difference in twentieth-century US popular culture.” -- Brandi T. Summers * Canadian Journal of Latin American and Caribbean Studies *"Skin Acts provides highly productive discourses for anyone interested in black cultural studies, performance theory, and/or racialization." -- Lia T. Bascomb * Contemporary Theatre Review *"The book is well written and rich with analytic detail regarding each of the four case studies, particularly through the use of visual materials. Skin Acts is a valuable contribution to the literatures of race, psychoanalytic theory, masculinity, and performance." -- Devon R. Goss * Men and Masculinities *"Skin Acts is an ambitious and well-researched study that anyone interested in the intersections of psychoanalysis and critical race theory should read." -- Rocío Pichon-Rivière * e-misférica *"By pushing the reader to think about how multiple sites of self-definition and societal gaze create the racial, bodily landscape of the black masculine performer, Stephens makes an important contribution to black masculinity studies and performance studies, and articulates the importance for the field of skin studies. Stephens’s interdisciplinary project effortlessly blends performance theory, psychoanalysis, and historical theories of race, corporeality, and physiognomy to produce an accessible framework for understanding black masculine performers in the twentieth century." -- Brandon J. Manning * Callaloo *Table of ContentsPreface vii Acknowledgments xiii Introduction. Fleshing Out the Act 1 1. Seeing Faces, Hearing Signs 31 2. Bodylines, Borderlines, Color Lines 71 3. The Problem of Color 111 4. In the Flesh, Living Sound 153 Conclusion. Defacing Race, Rethinking the Skin 191 Notes 205 Bibliography 259 Index 273

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Book SynopsisDrawing on an eclectic range of texts and figures, from the Greek Cynics to Tori Amos, Nick Salvato finds that embarrassment, laziness, slowness, cynicism, and digressiveness can paradoxically enable alternative modes of intellectual production.Trade Review"Through an often breathtaking range of cultural readings, Salvato (performing and media arts, Cornell) offers new ways to think about traits that are normally seen as obstructions or impediments to creative or scholarly projects. . . . here is little doubt that graduate students and early-career academics, especially those in the humanities, will find this book a source of affirmation, encouragement, and transformation. Essential. All readers." -- M. Uebel * Choice *"Whether identifying as academics or intellectuals, yoga instructors or closet fans of Tori Amos, readers of Obstruction are certain to discover that there is immense pleasure and great value to be gained from an absorptive encounter with Nick Salvato’s embarrassing, lazy, slow, cynical, digressive act of scholarly labour. As Obstruction reminds us: if it’s broke, don’t fix it." -- Amy Holzapfel * Modern Drama *"Whether laziness or cynicism, it seems there is a way to utilize such obstructions for creativity and productivity, but only by embracing them as offering valuable constraints, and not by treating them as presenting obstacles to dissolve or overcome. Obstruction makes a clear argument for the use value of affect for cognitive activity, especially, creativity in thinking." -- Karen Simecek * Year's Work in Critical and Cultural Theory *Table of ContentsAcknowledgments vii Introduction. Trafficking in Five Obstructions 1 1. Embarrassment 33 2. Laziness 63 3. Slowness 95 4. Cynicism 127 5. Digressiveness 157 Conclusion. Sober Futurity 193 Notes 205 Bibliography 233 Index 251

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Book SynopsisDrawing on an eclectic range of texts and figures, from the Greek Cynics to Tori Amos, Nick Salvato finds that embarrassment, laziness, slowness, cynicism, and digressiveness can paradoxically enable alternative modes of intellectual production. Trade Review"Through an often breathtaking range of cultural readings, Salvato (performing and media arts, Cornell) offers new ways to think about traits that are normally seen as obstructions or impediments to creative or scholarly projects. . . . here is little doubt that graduate students and early-career academics, especially those in the humanities, will find this book a source of affirmation, encouragement, and transformation. Essential. All readers." -- M. Uebel * Choice *"Whether identifying as academics or intellectuals, yoga instructors or closet fans of Tori Amos, readers of Obstruction are certain to discover that there is immense pleasure and great value to be gained from an absorptive encounter with Nick Salvato’s embarrassing, lazy, slow, cynical, digressive act of scholarly labour. As Obstruction reminds us: if it’s broke, don’t fix it." -- Amy Holzapfel * Modern Drama *"Whether laziness or cynicism, it seems there is a way to utilize such obstructions for creativity and productivity, but only by embracing them as offering valuable constraints, and not by treating them as presenting obstacles to dissolve or overcome. Obstruction makes a clear argument for the use value of affect for cognitive activity, especially, creativity in thinking." -- Karen Simecek * Year's Work in Critical and Cultural Theory *Table of ContentsAcknowledgments vii Introduction. Trafficking in Five Obstructions 1 1. Embarrassment 33 2. Laziness 63 3. Slowness 95 4. Cynicism 127 5. Digressiveness 157 Conclusion. Sober Futurity 193 Notes 205 Bibliography 233 Index 251

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Book SynopsisAn anthology of contemporary Polish drama that exposes ways in which individual and social violence impinge upon each other, disrupt notions of a monolithic Polish identity, and try to find meaning within the post-9/11 global context. It also includes an introduction that situates each play within its historical, political, and theatrical context.

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Book SynopsisThis unique book is a graphic novel and performance poem, a mixed-media musical cartoon, an animated feature film come to life. Lee Breuer's La Divina Caricatura is in the pataphysical tradition of Alfred Jarryif Jarry had been a Dante fan. In this play we meet unforgettable characters: Rose the Dog, who thinks she is a woman; her lover John, a junkie filmmaker; Ponzi Porco, PhD, a pig in love with the New York Times; and the Warrior Ant, who, to impress his father, Trotsky the Termite, declares the perpetual revolution of the bugs of the fifth world. Each a soul on its own pilgrimage, seldom with a Virgil or a Beatrice to guide them, they often try to guide each other, only to get more lost. A dazzling, comic, potent mix of ideas and character, invention and reality, the plays in La Divina Caricatura reinvigorate the stage for our time.

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Book Synopsis* Comprehensive coverage, up--to--date, densely illustrated and fully referenced throughout. * Varied environmental concerns of different regions are represented by a broad geographical spread of examples. * Author is a distinguished engineering geologist with extensive international experience. .Table of ContentsIntroduction. Volcanic Activity. Earthquake Activity. Mass Movements. River Activity. Marine Activity. Arid And Semi-Arid Lands. Glacial And Periglacial Terrains. Water Resources. Soil Resources. Problem Soils. Rock Masses, Their Character, Problems And Uses. The Impact Of Mining On The Environment. Waste And Its Disposal. Environmental Geology And Health. Land Evaluation And Site Assessment

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Book SynopsisThe final installment in the critically-acclaimed trilogy on globalization and art explores the growing dominance of Asian centers of art This book takes readers on a fascinating journey around five Asian centers of contemporary art and its myriad institutions, agents, forms, materials, and languages, while posing vital questions about the political economy of culture and the power of visual art in a multi-polar world. He analyzes the financial powerhouse of Art Basel Hong Kong, new media art in South Korea, the place of the Kochi Biennale within contemporary art in India, transnational art and art education in China, and the geo-politics of art patronage in Palestine, and he develops a highly original synthesis of theoretical perspectives and empirical research. Drawing on detailed case studies and personal insights gained from his extensive experience of the contemporary art scene in Asia, Professor Harris examines the evolving relationship between the western centers of art practice, collection, and validation and the emerging peripheries of Asian Tiger societies with burgeoning art centers. And he arrives at the somewhat controversial conclusion that dominance of the art world is rapidly slipping away from Europe and North America. The Global Contemporary Art World is essential reading for undergraduates and postgraduate students in modern and contemporary art, art history, art theory and criticism, cultural studies, the sociology of culture, and globalization studies. It is also a vital resource for research students, academics, and professionals in the art world.Table of ContentsAbout the Author vii Introduction: “Global,” “Contemporary,” “Art,” “World” 1 Entering the Maze 1 Modernity, Contemporary Art and Globalization 7 Five Asian Centers Within the Global Contemporary Art World 15 Global Crash, Crises and the Art World 20 Contemporary Art in the Friezer 25 1 Doing the Business: Producing Consumption in the Hong Kong Art World 35 Hong Kong Gets the Art Basel Treatment 35 Offshore Art Business in the Global Neoliberal Capitalist Economy 39 Combined and Uneven Development in the Hong Kong Art World 45 Hong Kong’s Art World Inside and Outside China 52 2 New Media Art and Cultural Globalism in South Korea 65 The Chic of Global “New Media Art” 65 Contemporary Art as Global Cultural Diplomacy 69 “Glocal Video”: Conventions and Critiques 73 Culture, Contemporaneity and the Postcolonial Artwork 76 The “Real DMZ Project”: Conflict Art in the Korean Peninsula 80 Contemporary Art Across Global Asia 85 3 Globalizing Indian Contemporary Art: The Biennial as Rhetorical Form 95 The Kochi Biennale Big Sell 96 Kochi as a Global Venue 99 Art at Kochi: Liberal Pluralism Versus Social Engagement with Globalization? 102 The Highs and Lows of Art, Media and Kochi Biennale Capital 108 Utopian Rhetoric in Contemporary Art at the Kochi Biennale 113 4 Social Reproduction of Contemporary Art in the People’s Republic of China: Higher Education and the Branding of “Contemporary Chinese Art” 127 Art and Design Education as a Globalization Process 127 Changing Identifications in Art and Design Education in China 132 Contemporary Chinese Art Marketed for Global Consumption 136 Chinese Art and the World Art System 141 5 Contemporary Art and Post-National Identities in the State of Palestine 155 “Palestine is Open for Business”! 155 Grounding the Culture Industry in Palestine 158 Palestinian Museums-of-art-in-waiting 162 The “NGO-ization” of the Contemporary Art World in the State of Palestine 167 Concrete into Dust 172 6 Conclusion: Motifs of Global Fracture in the Art Of Bashir Makhoul and Wang Guofeng 181 Re-Entering the Maze 181 In Girum Imus Nocte et Consumimur Igni 185 Utopian Photo-Mythologies 188 Aesthetic and Social Implications of Digital Photography 191 Aesthetic and Social Implications of Digital Technology 194 Selected Bibliography 201 Index 217

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Book SynopsisExploring the history of art in China from its earliest incarnations to the present day, this comprehensive volume includes two dozen newly-commissioned essays spanning the theories, genres, and media central to Chinese art and theory throughout its history. Provides an exceptional collection of essays promoting a comparative understanding of China's long record of cultural productionBrings together an international team of scholars from East and West, whose contributions range from an overview of pre-modern theory, to those exploring calligraphy, fine painting, sculpture, accessories, and moreArticulates the direction in which the field of Chinese art history is moving, as well as providing a roadmap for historians interested in comparative study or theoryProposes new and revisionist interpretations of the literati tradition, which has long been an important staple of Chinese art historyOffers a rich insight into China's social and political institutions, religious and cultural pTable of ContentsList of Figures xi Notes on Contributors xv Introduction 1Martin J. Powers and Katherine R. Tsiang Part I Production and Distribution 27 1 Court Painting 29Patricia Ebrey 2 The Culture of Art Collecting in Imperial China 47Scarlett Jang 3 Art, Print, and Cultural Discourse in Early Modern China 73J. P. Park 4 Art and Early Chinese Archaeological Materials 91Xiaoneng Yang Part II Representation and Reality 113 5 Figure Painting: Fragments of the Precious Mirror 115Shane McCausland 6 The Language of Portraiture in China 136Dora C. Y. Ching 7 Visualizing the Divine in Medieval China 158Katherine R. Tsiang 8 Landscape 177Peter C. Sturman 9 Concepts of Architectural Space in Historical Chinese Thought 195Cary Y. Liu 10 Time in Early Chinese Art 212Eugene Y. Wang Part III Theories and Terms 233 11 The Art of “Ritual Artifacts” (Liqi): Discourse and Practice 235Wu Hung 12 Classification, Canon, and Genre 254Richard Vinograd 13 Conceptual and Qualitative Terms in Historical Perspective 277Ronald Egan 14 Imitation and Originality, Theory and Practice 293Ginger Cheng-chi Hs¨u 15 Calligraphy 312Qianshen Bai 16 Emptiness-Substance: Xushi 329Jason C. Kuo Part IV Objects and Persons 349 17 Artistic Status and Social Agency 351Martin J. Powers 18 Ornament in China 371Jessica Rawson 19 Folding Fans and Early Modern Mirrors 392Antonia Finnane 20 Garden Art 410Xin Wu 21 Commercial Advertising Art in 1840–1940s “China” 431Tani E. Barlow Part V Word and Image 455 22 Words in Chinese Painting 457Alfreda Murck 23 On the Origins of Literati Painting in the Song Dynasty 474Jerome Silbergeld 24 Poetry and Pictorial Expression in Chinese Painting 499Susan Bush 25 Popular Literature and Visual Culture in Early Modern China 517Jianhua Chen Index 535

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Book SynopsisThis state-of-the-art volume reviews both past work and current research, with contributions from internationally recognized experts. The book is organized into fourteen chapters and designed to embrace the full range of terrestrial geochemical sediments.Trade Review"The editors of this book have composed an excellent, up-to-date overview of continental chemical deposits. ... This volume contributes substantially to a better understanding of several earth-surface processes. It is a book that many earth scientists interested in geomorphology, weathering, soils and continental paleoenviroments long have waited for." (Journal of Sedimentary Research, January 2009) "I would highly recommend this text to both students and academics—I will certainly be adding it to my class reading lists." (Geographical Journal, 2009)Table of Contents1. Introduction: Geochemical Sediments in Landscapes (David J. Nash and Sue J. McLaren). 2. Calcrete (V. Paul Wright). 3. Laterite and ferricrete (Mike Widdowson). 4. Silcrete (David J. Nash and J. Stewart Ullyott). 5. Aeolianite (Sue J. McLaren). 6. Tufa and travertine (Heather A. Viles and Allan Pentecost). 7. Speleothems (Ian J. Fairchild, Anna Tooth, Andrea Borsato and Silvia Frisia). 8. Rock varnish (Ronald I. Dorn). 9. Lacustrine and palustrine geochemical sediments (Eric P. Verrecchia). 10. Terrestrial evaporites (Allan R. Chivas). 11. Beachrock and intertidal precipitates (Eberhard Gischler). 12. Nitrate deposits and surface efflorescences (Andrew S. Goudie and Elaine Heslop). 13. Analytical techniques for investigating terrestrial geochemical sediments (John McAlister & Bernie J. Smith). 14. Geochemical sediments and landscapes: general summary (Sue J. McLaren and David J. Nash).

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Book SynopsisAn engaging account of today's contemporary art world that features original articles by leading international art historians, critics, curators, and artists, introducing varied perspectives on the most important debates and discussions happening around the world. Features a collection of all-new essays, organized around fourteen specific themes, chosen to reflect the latest debates in contemporary art since 1989 Each topic is prefaced by an introduction on current discussions in the field and investigated by three essays, each shedding light on the subject in new and contrasting ways Topics include: globalization, formalism, technology, participation, agency, biennials, activism, fundamentalism, judgment, markets, art schools, and scholarship International in scope, bringing together over forty of the most important voices in the field, including Sofía Hernández Chong Cuy, David Joselit, Michelle Kuo, Raqs Media Collective, and Jan VerwoertTrade Review“Summing Up: Recommended. Upper-division undergraduates and above.” (Choice, 1 August 2013) Table of ContentsContributors ix INTRODUCTION 1 Alexander Dumbadze and Suzanne Hudson 1 THE CONTEMPORARY AND GLOBALIZATION 5 Worlds Apart: Contemporary Art, Globalization, and the Rise of Biennials 7 Tim Griffin “Our” Contemporaneity? 17 Terry Smith The Historicity of the Contemporary is Now! 28 Jean-Philippe Antoine 2 ART AFTER MODERNISM AND POSTMODERNISM 37 Elite Art in an Age of Populism 39 Julian Stallabrass “Of Adversity we Live!” 50 Monica Amor Making it Work: Artists and Contemporary Art in China 60 Pauline J. Yao 3 FORMALISM 70 Form Struggles 72 Jan Verwoert Formalism Redefined 84 Anne Ellegood The World in Plain View: Form in the Service of the Global 95 Joan Kee 4 MEDIUM SPECIFICITY 105 The (Re)Animation of Medium Specificity in Contemporary Art 107 Sabeth Buchmann Medium Aspecificity/Autopoietic Form 117 Irene V. Small Specificity 126 Richard Shiff 5 ART AND TECHNOLOGY 137 Test Sites: Fabrication 139 Michelle Kuo Inhabiting the Technosphere: Art and Technology Beyond Technical Invention 149 Ina Blom Conceptual Art 2.0 159 David Joselit 6 BIENNIALS 169 In Defense of Biennials 171 Massimiliano Gioni Curating in Heterogeneous Worlds 178 Geeta Kapur Biennial Culture and the Aesthetics of Experience 192 Caroline A. Jones 7 PARTICIPATION 202 Participation 204 Liam Gillick and Maria Lind The Ripple Effect: “Participation” as an Expanded Field 214 Johanna Burton Publicity and Complicity in Contemporary Art 224 Sofía Hernández Chong Cuy 8 ACTIVISM 232 Activism 234 Andrea Giunta Knit Dissent 245 Julia Bryan-Wilson Light from a Distant Star: A Meditation on Art, Agency, and Politics 254 Raqs Media Collective 9 AGENCY 265 Participation in Art: 10 Theses 267 Juliane Rebentisch Fusions of Powers: Four Models of Agency in the Field of Contemporary Art, Ranked Unapologetically in Order of Preference 277 Tirdad Zolghadr Life Full of Holes: Contemporary Art and Bare Life 287 T. J. Demos 10 THE RISE OF FUNDAMENTALISM 298 Monotheism à la Mode 300 Sven Lütticken Freedom’s Just Another Word 311 Terri Weissman On the Frontline: The Politics of Terrorism in Contemporary Pakistani Art 322 Atteqa Ali 11 JUDGMENT 331 Judgment’s Troubled Objects 333 João Ribas A Producer’s Journal, or Judgment A Go-Go 346 Frank Smigiel After Criticism 357 Lane Relyea 12 MARKETS 367 Globalization and Commercialization of the Art Market 369 Olav Velthuis Three Perspectives on the Market 379 Mihai Pop, Sylvia Kouvali, and Andrea Rosen Untitled 388 Ayreen Anastas and Rene Gabri 13 ART SCHOOLS AND THE ACADEMY 406 Lifelong Learning 408 Katy Siegel Art without Institutions 420 Anton Vidokle Will the Academy Become a Monster? 429 Pi Li 14 SCHOLARSHIP 436 Our Literal Speed 438 Our Literal Speed Globalization, Art History, and the Specter of Difference 447 Chika Okeke-Agulu The Academic Condition of Contemporary Art 457 Carrie Lambert-Beatty Index 467

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Book SynopsisA Companion to Chinese Art explores one of the world s greatest and richest artistic traditions. Including over two dozen newly-commissioned essays written by an international team of scholars from East and West, it examines the multi-faceted theories, genres, and media central to Chinese art throughout its history.Table of ContentsList of Figures xi Notes on Contributors xv Introduction 1Martin J. Powers and Katherine R. Tsiang Part I Production and Distribution 27 1 Court Painting 29Patricia Ebrey 2 The Culture of Art Collecting in Imperial China 47Scarlett Jang 3 Art, Print, and Cultural Discourse in Early Modern China 73J. P. Park 4 Art and Early Chinese Archaeological Materials 91Xiaoneng Yang Part II Representation and Reality 113 5 Figure Painting: Fragments of the Precious Mirror 115Shane McCausland 6 The Language of Portraiture in China 136Dora C. Y. Ching 7 Visualizing the Divine in Medieval China 158Katherine R. Tsiang 8 Landscape 177Peter C. Sturman 9 Concepts of Architectural Space in Historical Chinese Thought 195Cary Y. Liu 10 Time in Early Chinese Art 212Eugene Y. Wang Part III Theories and Terms 233 11 The Art of “Ritual Artifacts” (Liqi): Discourse and Practice 235Wu Hung 12 Classification, Canon, and Genre 254Richard Vinograd 13 Conceptual and Qualitative Terms in Historical Perspective 277Ronald Egan 14 Imitation and Originality, Theory and Practice 293Ginger Cheng-chi Hs¨u 15 Calligraphy 312Qianshen Bai 16 Emptiness-Substance: Xushi 329Jason C. Kuo Part IV Objects and Persons 349 17 Artistic Status and Social Agency 351Martin J. Powers 18 Ornament in China 371Jessica Rawson 19 Folding Fans and Early Modern Mirrors 392Antonia Finnane 20 Garden Art 410Xin Wu 21 Commercial Advertising Art in 1840–1940s “China” 431Tani E. Barlow Part V Word and Image 455 22 Words in Chinese Painting 457Alfreda Murck 23 On the Origins of Literati Painting in the Song Dynasty 474Jerome Silbergeld 24 Poetry and Pictorial Expression in Chinese Painting 499Susan Bush 25 Popular Literature and Visual Culture in Early Modern China 517Jianhua Chen Index 535

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Book SynopsisHonorable Mention, Barnard Hewitt Award from the American Society for Theater ResearchExplores the intersection and history of American literary realism and the performance of spiritual and racial embodiment. Recovering a series of ecstatic performances in late nineteenth- and early twentieth-century American realism, Realist Ecstasy travels from camp meetings to Native American ghost dances to storefront church revivals to explore realism's relationship to spiritual experience. In her approach to realism as both an unruly archive of performance and a wide-ranging repertoire of media practicesincluding literature, photography, audio recording, and early filmLindsay V. Reckson argues that the real was repetitively enacted and reenacted through bodily practice. Realist Ecstasy demonstrates how the realist imagining of possessed bodies helped construct and naturalize racial difference, while excavating the complex, shifting, and dynamic possibilities emTrade ReviewThis book’s significance lies in Lindsay Reckson’s ability to rethink literary tropes and tactics through a profound attention to embodiment—bodily gesture, comportment, performance, reenactment. Realist Ecstasy traces how bodies come undone into practices that threaten the very category of the real. Theoretically fascinating and solidly grounded, Reckson’s work places performance in conversation with photography and the literary, forcing each to account for one another across her archival ensemble. -- Rebecca Schneider, author of Performing Remains

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Book Synopsis2017 Nicolás Guillén Outstanding Book Award presented by the Caribbean Philosophical AssociationAs the first successful revolution emanating from a slave rebellion, the Haitian Revolution remains an inspired site of investigation for a remarkable range of artists and activist-intellectuals in the African Diaspora.In The Black Radical Tragic, Jeremy Matthew Glick examines twentieth-century performances engaging the revolution as laboratories for political thinking. Asking readers to consider the revolution less a fixed event than an ongoing and open-ended history resonating across the work of Atlantic world intellectuals, Glick argues that these writers use the Haitian Revolution as a watershed to chart their own radical political paths, animating, enriching, and framing their artistic and scholarly projects. Spanning the disciplines of literature, philosophy, and political thought, The Black Radical Tragic explores work from Lorraine Hansberry, Sergei Eisenstein, EdouardTrade ReviewJeremy Matthew GlicksThe Black Radical Tragicis a book we were all waiting for without knowing it. Only now, after finding it, do we know what we were waiting for. * Los Angeles Review of Books *Jeremy Matthew Glick'sThe Black Radical Tragic is a book we were all waiting for without knowing it....[Glick] combines here a sober and ruthless insight into the necessary tragic twists of the revolutionary process with the unconditional fidelity to this process. He stands as far as possible from the standard 'anti-totalitarian' claim that, since every revolutionary process is destined to degenerate, its better to abstain from it. This readiness to take the risk and engage in the battle, although we know that we will probably be sacrificed in the course of the struggle, is the most precious insight for us who live in new dark times. -- Slavoj Žižek * Los Angeles Review of Books *The Black Radical Tragicis infused with questions of memory, revolution, and how these concepts interact with one another across history. With rigorous attunement to the various registers in which revolt is recalled and recited, Jeremy Matthew Glick charts the Haitian revolution as an extended, ongoing historical moment of fugitive insurgency, the open culmination of the terrible and beautiful interplay of enlightenment and darkness. A brilliant and necessary book. -- Fred Moten,author of In the Break: The Aesthetics of the Black Radical TraditionGrappling with the continuing reverberations of the Haitian Revolution in our present, Jeremy Matthew GlicksTheBlack Radical Tragicdefines the notion of the tragic within the black radical tradition with remarkable insights and impressive breadth. An engagingly written text that will shape not only how we think about the centrality of the Haitian Revolution but also questions of the modern in political thought. -- Anthony Bogues,Brown UniversityGlicks book...stands as an indispensable contribution to the field. Staging an essentialand all too rareconversation between dramatic literature and black radicalism, Glicks work itself stands as part of what Errol Hill called 'the revolutionary tradition in black drama.' * TDR: The Drama Review *

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Book SynopsisHonorable Mention, 2020 Barnard Hewitt Award for Outstanding Research in Theatre History, given by the American Society for Theatre ResearchArgues that Ricanness operates as a continual performance of bodily endurance against US colonialismIn 1954, Dolores Lolita Lebrón and other members of the Puerto Rican Nationalist Party led a revolutionary action on the chambers of Congress, firing several shots at the ceiling and calling for the independence of the island. Ricanness: Enduring Time in Anticolonial Performance begins with Lebrón's vanguard act, distilling the relationship between Puerto Rican subjectivity, gender, sexuality, and revolutionary performance under colonial time. Ruiz argues that Ricannessa continual performance of bodily endurance against US colonialism through different measures of timeuncovers what's at stake politically for the often unwanted, anticolonial, racialized and sexualized enduring body. Moving among theatre, experimental video, revolutionary protest, phTrade ReviewRuiz’s relentless pressure on how fields of knowledge depend upon spatial containment eviscerates the collusion between epistemology and place. Her dazzling intellectualism models the necessarily daring edges one must seek out in discussions about aesthetics and politics. This beautifully written book encourages the demands of nonlinear thinking, the challenging pleasures of scholarship, and offers a more expansive sense of what activism can be. Ricanness is erudition for the people. -- Alexandra T. Vazquez, author of Listening in Detail: Performances of Cuban MusicRicanness accomplishes a sustained dislocation of the hierarchies of the senses. It is an ontology of life and death, mixed with lipstick, champagne, sweat, vulgarity, and survival. It is a poetics of time and temporality. This poetics is worked out phenomenologically, aesthetically, and politically through the uncompromising stance Ruiz takes toward the violent history echoing across the unbroken Rican spirit. -- Tavia Nyong'o, author of Afro-Fabulations: The Queer Drama of Black Life[Ruiz] uses the example of Puerto Rico to push theory forward—challenging it, extending it, upending it. * Choice *At once challenging and generous, forcefully-argued and nuanced, Ruiz’s work demonstrates how endurance, suspension, and waiting characterize Rican subjectivities, and how aesthetic performance both reveals and confronts the colonial (and postcolonial) logics that inform these subjectivities. * Social Text *In shifting away from more traditional disciplinary approaches that have pervaded the field from its beginnings, Ricanness [...] turned to the promise of the aesthetic in order to understand and move beyond the confines of political discourse that limits resistance to the realm of grand political acts. * Latino Studies *Sandra Ruiz pushes us to consider how Puerto Ricans are not only forced to constantly endure subjection and violence, but also how they cultivate an existence that punctures, even if only momentarily, the stranglehold of colonialism on their lives and deaths. In Ricanness, death becomes an insurgent force under the restrictive time and limited horizon imposed by colonial rule. * Centro Journal *Ruiz’s book is groundbreaking as she skillfully weaves together philosophy (specifically phenomenology and existentialism), performance studies, psychoanalysis, gender and queer studies, and Puerto Rican studies, to address major blind spots in each of these fields. * Women & Performance *Ruiz’s expertly wound theoretical frame unfurls itself in her sumptuous close readings. Moving roughly chronologically while capturing alternate time looping under coloniality, she analyzes performance across media, including photography, political protest, durational performance art, plays, poetry, and experimental video. * Theatre Journal *A profoundly necessary and timely book ... Though her book focuses on Ricans in the diaspora, her theorization of alternative ways of being through anticolonial performance is not bound by colonially imposed borders between here (US) and there (Puerto Rico) ... Ricanness offers so much not only to the fields of performance studies and Puerto Rican studies, but also to Ricans like me, Ricans wanting “a relational way to imagine, dream, and construct alternate forms of living under colonialism, across bodies of water. * The Drama Review *Ruiz complicates the conventional gendered connotations of masculinized impotence and/or endurance by reading these states through the framework of colonial/national personhood. Throughout the book, Ruiz underscores how many performances of Ricanness entail a reckoning with gendered violence and a confrontation with the unfulfilled and violent promises of redemptive masculinities ... In inviting us to appreciate the aesthetic as a politic, and to understand Rican survival as an artful and embodied working upon an unending loop in colonial time, Ruiz invigorates Latinx studies engagements with performance and provides us with theories we can use to situate further performances of Ricanness. * American Quarterly *

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Book Synopsis2017 Nicolás Guillén Outstanding Book Award presented by the Caribbean Philosophical AssociationAs the first successful revolution emanating from a slave rebellion, the Haitian Revolution remains an inspired site of investigation for a remarkable range of artists and activist-intellectuals in the African Diaspora.In The Black Radical Tragic, Jeremy Matthew Glick examines twentieth-century performances engaging the revolution as laboratories for political thinking. Asking readers to consider the revolution less a fixed event than an ongoing and open-ended history resonating across the work of Atlantic world intellectuals, Glick argues that these writers use the Haitian Revolution as a watershed to chart their own radical political paths, animating, enriching, and framing their artistic and scholarly projects. Spanning the disciplines of literature, philosophy, and political thought, The Black Radical Tragic explores work from Lorraine Hansberry, Sergei Eisenstein, EdouardTrade ReviewJeremy Matthew GlicksThe Black Radical Tragicis a book we were all waiting for without knowing it. Only now, after finding it, do we know what we were waiting for. * Los Angeles Review of Books *Jeremy Matthew Glick'sThe Black Radical Tragic is a book we were all waiting for without knowing it....[Glick] combines here a sober and ruthless insight into the necessary tragic twists of the revolutionary process with the unconditional fidelity to this process. He stands as far as possible from the standard 'anti-totalitarian' claim that, since every revolutionary process is destined to degenerate, its better to abstain from it. This readiness to take the risk and engage in the battle, although we know that we will probably be sacrificed in the course of the struggle, is the most precious insight for us who live in new dark times. -- Slavoj Žižek * Los Angeles Review of Books *The Black Radical Tragicis infused with questions of memory, revolution, and how these concepts interact with one another across history. With rigorous attunement to the various registers in which revolt is recalled and recited, Jeremy Matthew Glick charts the Haitian revolution as an extended, ongoing historical moment of fugitive insurgency, the open culmination of the terrible and beautiful interplay of enlightenment and darkness. A brilliant and necessary book. -- Fred Moten,author of In the Break: The Aesthetics of the Black Radical TraditionGrappling with the continuing reverberations of the Haitian Revolution in our present, Jeremy Matthew GlicksTheBlack Radical Tragicdefines the notion of the tragic within the black radical tradition with remarkable insights and impressive breadth. An engagingly written text that will shape not only how we think about the centrality of the Haitian Revolution but also questions of the modern in political thought. -- Anthony Bogues,Brown UniversityGlicks book...stands as an indispensable contribution to the field. Staging an essentialand all too rareconversation between dramatic literature and black radicalism, Glicks work itself stands as part of what Errol Hill called 'the revolutionary tradition in black drama.' * TDR: The Drama Review *

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Book SynopsisHonorable Mention, Barnard Hewitt Award from the American Society for Theater ResearchExplores the intersection and history of American literary realism and the performance of spiritual and racial embodiment. Recovering a series of ecstatic performances in late nineteenth- and early twentieth-century American realism, Realist Ecstasy travels from camp meetings to Native American ghost dances to storefront church revivals to explore realism's relationship to spiritual experience. In her approach to realism as both an unruly archive of performance and a wide-ranging repertoire of media practicesincluding literature, photography, audio recording, and early filmLindsay V. Reckson argues that the real was repetitively enacted and reenacted through bodily practice. Realist Ecstasy demonstrates how the realist imagining of possessed bodies helped construct and naturalize racial difference, while excavating the complex, shifting, and dynamic possibilities emTrade ReviewThis book’s significance lies in Lindsay Reckson’s ability to rethink literary tropes and tactics through a profound attention to embodiment—bodily gesture, comportment, performance, reenactment. Realist Ecstasy traces how bodies come undone into practices that threaten the very category of the real. Theoretically fascinating and solidly grounded, Reckson’s work places performance in conversation with photography and the literary, forcing each to account for one another across her archival ensemble. -- Rebecca Schneider, author of Performing Remains

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Book SynopsisThe story of a new style of artand a new way of lifein postwar America: confessionalism. What do midcentury confessional poets have in common with today's reality TV stars? They share an inexplicable urge to make their lives an open book, and also a sense that this book can never be finished. Christopher Grobe argues that, in postwar America, artists like these forged a new way of being in the world. Identity became a kind of workalways ongoing, never completeto be performed on the public stage. The Art of Confession tells the history of this cultural shift and of the movement it created in American art: confessionalism. Like realism or romanticism, confessionalism began in one art form, but soon pervaded them all: poetry and comedy in the 1950s and '60s, performance art in the '70s, theater in the '80s, television in the '90s, and online video and social media in the 2000s. Everywhere confessionalism went, it stood against autobiography, the art of the closed booTrade ReviewGrobe helps uncover continuities between Robert Lowell and reality television, revealing that all along confession has been a matter of art as much as truth. … The Art of Confession is itself an impressive performance, written with an eloquence and uncommon verve. -- Los Angeles Review of BooksGrobetraces the history and evolution of modern American confessional art in this impressive and wide-ranging debut. An engrossing . . . work of literary scholarship for the 21st century. * Publishers Weekly *A feeling that Grobe is working to piece things together, and take them apart, to present them to the reader for further contemplation. . . . resonates strongly throughout the book. Seeing the author arrive at his conclusions, rather than present them as a fait accompli, offers a compelling act of reading. * Popmatters *Grobe explores 'the performance of self' in as multifarious a fashion as befits the topic and with just the right balance of theoretical acumen, playfulness, tongue-in-cheek observations, and historical, literary, political, and cultural accuracy. * STARRED Library Journal *A cogent and often entertaining demonstration of what the confessional self looks like as it unfolds over his subjects’ cross-media careers during decades rife with cultural and political significance. -- BiographyI must confess: I loveThe Art of Confession. In clear and stylish prose, with gusto and flourish, andthrough original arguments about the compulsion to confess and the compulsion to perform, Grobe has produced a stunning book. Broadly engaged, yet sharply focused, this workis cultural criticism of the highest standard. -- Nick Salvato,author of Obstruction

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Book SynopsisHonorable Mention, 2020 Barnard Hewitt Award for Outstanding Research in Theatre History, given by the American Society for Theatre ResearchArgues that Ricanness operates as a continual performance of bodily endurance against US colonialismIn 1954, Dolores Lolita Lebrón and other members of the Puerto Rican Nationalist Party led a revolutionary action on the chambers of Congress, firing several shots at the ceiling and calling for the independence of the island. Ricanness: Enduring Time in Anticolonial Performance begins with Lebrón's vanguard act, distilling the relationship between Puerto Rican subjectivity, gender, sexuality, and revolutionary performance under colonial time. Ruiz argues that Ricannessa continual performance of bodily endurance against US colonialism through different measures of timeuncovers what's at stake politically for the often unwanted, anticolonial, racialized and sexualized enduring body. Moving among theatre, experimental video, revolutionary protest, phTrade Review"Ruiz’s relentless pressure on how fields of knowledge depend upon spatial containment eviscerates the collusion between epistemology and place. Her dazzling intellectualism models the necessarily daring edges one must seek out in discussions about aesthetics and politics. This beautifully written book encourages the demands of nonlinear thinking, the challenging pleasures of scholarship, and offers a more expansive sense of what activism can be. Ricanness is erudition for the people." -- Alexandra T. Vazquez, author of Listening in Detail: Performances of Cuban Music"Ricanness accomplishes a sustained dislocation of the hierarchies of the senses. It is an ontology of life and death, mixed with lipstick, champagne, sweat, vulgarity, and survival. It is a poetics of time and temporality. This poetics is worked out phenomenologically, aesthetically, and politically through the uncompromising stance Ruiz takes toward the violent history echoing across the unbroken Rican spirit." -- Tavia Nyong'o, author of Afro-Fabulations: The Queer Drama of Black Life"[Ruiz] uses the example of Puerto Rico to push theory forward—challenging it, extending it, upending it." * Choice *"At once challenging and generous, forcefully-argued and nuanced, Ruiz’s work demonstrates how endurance, suspension, and waiting characterize Rican subjectivities, and how aesthetic performance both reveals and confronts the colonial (and postcolonial) logics that inform these subjectivities." * Social Text *"In shifting away from more traditional disciplinary approaches that have pervaded the field from its beginnings, Ricanness [...] turned to the promise of the aesthetic in order to understand and move beyond the confines of political discourse that limits resistance to the realm of grand political acts." * Latino Studies *"Sandra Ruiz pushes us to consider how Puerto Ricans are not only forced to constantly endure subjection and violence, but also how they cultivate an existence that punctures, even if only momentarily, the stranglehold of colonialism on their lives and deaths. In Ricanness, death becomes an insurgent force under the restrictive time and limited horizon imposed by colonial rule." * Centro Journal *"Ruiz’s book is groundbreaking as she skillfully weaves together philosophy (specifically phenomenology and existentialism), performance studies, psychoanalysis, gender and queer studies, and Puerto Rican studies, to address major blind spots in each of these fields." * Women & Performance *"Ruiz’s expertly wound theoretical frame unfurls itself in her sumptuous close readings. Moving roughly chronologically while capturing alternate time looping under coloniality, she analyzes performance across media, including photography, political protest, durational performance art, plays, poetry, and experimental video." * Theatre Journal *"A profoundly necessary and timely book ... Though her book focuses on Ricans in the diaspora, her theorization of alternative ways of being through anticolonial performance is not bound by colonially imposed borders between here (US) and there (Puerto Rico) ... Ricanness offers so much not only to the fields of performance studies and Puerto Rican studies, but also to Ricans like me, Ricans wanting “a relational way to imagine, dream, and construct alternate forms of living under colonialism, across bodies of water." * The Drama Review *"Ruiz complicates the conventional gendered connotations of masculinized impotence and/or endurance by reading these states through the framework of colonial/national personhood. Throughout the book, Ruiz underscores how many performances of Ricanness entail a reckoning with gendered violence and a confrontation with the unfulfilled and violent promises of redemptive masculinities ... In inviting us to appreciate the aesthetic as a politic, and to understand Rican survival as an artful and embodied working upon an unending loop in colonial time, Ruiz invigorates Latinx studies engagements with performance and provides us with theories we can use to situate further performances of Ricanness." * American Quarterly *

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Book SynopsisPhonopoetics tells the neglected story of early "talking records" and their significance for literature, from the 1877 invention of the phonograph to some of the first recorded performances of modernist works. The book challenges assumptions of much contemporary criticism by taking the recorded, oral performance as its primary object of analysis and by exploring the historically specific convergences between audio recording technologies, media formats, generic forms, and the institutions and practices surrounding the literary. Opening with an argument that the earliest spoken recordings were a mediated extension of Victorian reading and elocutionary culture, Jason Camlot explains the literary significance of these pre-tape era voice artifacts by analyzing early promotional fantasies about the phonograph as a new kind of speaker and detailing initiatives to deploy it as a pedagogical tool to heighten literary experience. Through historically-grounded interpretations of Dickens impersonators to recitations of Tennyson to T.S. Eliot's experimental readings of "The Waste Land" and of a great variety of voices and media in between, this first critical history of the earliest literary sound recordings offers an unusual perspective on the transition from the Victorian to modern periods and sheds new light on our own digitally mediated relationship to the past.Trade Review"Camlot's riveting account of the oldest surviving poetry recordings delivers one dazzling close listening after another. Not a crackle, hum, trill, or vibrato goes unnoticed by the author's exquisitely tuned ear. Drawing on a lifetime spent in the company of vintage phonographs, Phonopoetics will be an essential guide to historic spoken word recordings of literature." -- Matthew Rubery * Queen Mary University of London *"Phonopoetics is a book best appreciated 'in stereo' as a fresh and compelling perspective on the early phonograph industry and a generative new framework for understanding the culture and practice of poetry recitation." -- Jacob Smith * Northwestern University *"Camlot challenges assumptions of contemporary literary criticism by taking the heard audio-text as a primary object of analysis....Recommended." -- S. Schmidt Horning * CHOICE *"Camlot breaks entirely new ground. His study provides, without exaggeration, something truly original for the field of sound studies, opening up entirely new archives and objects of analysis, new questions and answers." -- Tyler Whitney * Modernism/modernity *"Camlot's groundbreaking work teaches us myriad techniques for newly engaging with the audible content of media artifacts. His Phonopoetics models for us a novel audiotextual criticism and form of close listening through which we may freshly access the signals of some of history's earliest recorded sounds." -- Andrew Burkett * Victorian Studies *Table of ContentsContents and AbstractsIntroduction: Introduction: Audiotextual Criticism chapter abstractThe introduction explores the strange sonic and material qualities of early sound recordings and outlines a methodology for the critical study of early spoken recordings as literary artifacts. It defines concepts that are at the core of the book, including the meaning of "literary recording", "sound", "signal", "audiotextual genres" and "sound media formats." In outlining a sound-based approach to literary studies, and in considering the synergies between textual criticism and literary sound recordings, it provides a schema for the pursuit of audiotextual criticism, that is, the formal and historical study of literary sound recordings. 1The Voice of the Phonograph chapter abstractChapter 1 analyzes the early promotional discourse surrounding the phonograph as a medium of natural fidelity and then situates the idea of the phonograph as a "pure voice" medium within the context of popular recitation anthologies in order to identify key elocutionary preconceptions that informed the vocal performances heard in early spoken recordings. In revealing the affinities that existed between late Victorian short spoken recordings and the brief texts meant for speaking aloud that were collected in nineteenth-century recitation anthologies, this opening chapter explains the preconceived notions about the phonograph as a new media technology and the significance of sound recording for the performance of literary texts, in particular. 2Charles Dickens in Three Minutes or Less: Early Phonographic Fiction chapter abstractChapter 2 focuses on the development and production of the earliest sound recordings drawn from the novels of Charles Dickens. The Dickens recordings of Bransby Williams and William Sterling Battis stand as the earliest fiction-based audio adaptations produced specifically for pedagogical application, and represent an interesting bridge between earlier conceptions of the talking record as a novel form of popular entertainment and the later, pedagogically motivated category of the literary recording. To shed light on the historical transition from "talking record" to "literary recording" and the emergence of what we now call educational technology, this chapter examines the particular kinds of literary adaptation in early recordings produced specifically for teaching literature in the classroom. 3Alfred, Lord Tennyson's Spectral Energy: Historical Intonation in Dramatic Recitation chapter abstractChapter 3 tells the story of the multiple recordings made between 1890 and 1920, both by the poet himself and by actors and elocutionists, of Tennyson's poem "The Charge of The Light Brigade." It analyzes the kinds of performance and genre that informed the production of these recordings and locates the speech sounds heard on them in debates of the period about elocution and verse speaking. An account of late Victorian methods of "dramatic" interpretation as elaborated by Samuel Silas Curry in Imagination and Dramatic Instinct opens into a longer genealogy of oral interpretation, and considers the import of New Criticism as a method of literary interpretation that worked to silence oral performance in the classroom. The close listening in this chapter also explores the potential of digital speech analysis tools to help us to fix and visualize elocutionary, prosodic features of these recordings of "Charge." 4T. S. Eliot's Recorded Experiments in Modernist Verse Speaking chapter abstractChapter 4 offers a series of interpretive takes on T. S. Eliot's 1930s electrically recorded voice experiments in reading his poem The Waste Land aloud. It traces Eliot's attempt to invent a way to read modernist poetry. Explaining the production context of the 1933 recordings, the chapter situates Eliot's audible reading experiments within contemporary debates surrounding the English verse-speaking movement, and Eliot's work for the BBC. Finally, it provides a close-listening analysis of Eliot's reading experiments with duration and amplitude, as well as a series of nonsemantic phrasing and intonation techniques, and especially the use of monotone in reading. Eliot's method of reading is interpreted as a performance of the abstract conception of "voice" that functions as an organizing principle in New Critical discourse. Eliot's recorded readings are heard to sound an organizing method of incantation that evokes the possibility of an overarching oracular or otherworldly voice. Conclusion: Conclusion: Analog, Digital, Conceptual chapter abstractThe Conclusion to Phonopoetics explores conceptions of voice preservation and models of the voice archive. It takes early ideas of the audible archival artifact (the sound recording) and the event-oriented scenario of its use as useful points of departure for a historically motivated theorization of the voice recording and voice archive at the present time. Specifically, it considers the impact of digital media technologies on the status of the record and its archive. The Conclusion mediates on how the analogue artifact of the sound archive has shaped our ideas and expectations about what a digital repository should be, and reflects on the status of the artifact of study as we move increasingly from the study of material media artifacts to virtual instantiations of the signals those media may once have held, in the form of digital media files.

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Book SynopsisIn a 1572 visit to Warwick, Queen Elizabeth looked out the window of her lodgings and saw local people dancing in the courtyard, a seemingly spontaneous performance meant to entertain her. During her travels, she was treated to fireworks, theatrical performances, and lavish banquets. Reconstructing the formal and informal events that took place throughout Elizabeth's progress visits, events rich in pageantry and ceremony, John M. Adrian demonstrates how communities communicated their character, as well as their financial and political needs, to noble guests.While previous scholars have studied Elizabeth I and her visits to the homes of influential courtiers, Fêting the Queen places a new emphasis on the civic communities that hosted the monarch and their efforts to secure much needed support. Case studies of the university and cathedral cities of Oxford, Canterbury, Sandwich, Bristol, Worcester, and Norwich focus on the concepts of hospitality and space—including the intimate details of the built environment.

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Book SynopsisIn a 1572 visit to Warwick, Queen Elizabeth looked out the window of her lodgings and saw local people dancing in the courtyard, a seemingly spontaneous performance meant to entertain her. During her travels, she was treated to fireworks, theatrical performances, and lavish banquets. Reconstructing the formal and informal events that took place throughout Elizabeth's progress visits, events rich in pageantry and ceremony, John M. Adrian demonstrates how communities communicated their character, as well as their financial and political needs, to noble guests.While previous scholars have studied Elizabeth I and her visits to the homes of influential courtiers, Fêting the Queen places a new emphasis on the civic communities that hosted the monarch and their efforts to secure much needed support. Case studies of the university and cathedral cities of Oxford, Canterbury, Sandwich, Bristol, Worcester, and Norwich focus on the concepts of hospitality and space—including the intimate details of the built environment.

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Book SynopsisA Russian Jew who spent most of his life in England and America, Alexander Bakshy (1885-1949) was a theater critic and literary translator. He was also an innovative theorist who applied to theater the discourse of self-reflexive modernism, prizing anti-illusionist medium-awareness. Indeed, he was something of a pioneer in the area of "spectatorship" and medium-awareness, going so far as to argue in favor of the modernist idea of overt presentationalism on stage as opposed to disingenuous representationalism. One can see this presentational, or anti-illusionist, argument at work in a number of pieces in Drama According to Alexander Bakshy, 1916-1946—an edited collection that also includes a lengthy contextualizing introduction and a comprehensive bibliography of this Russian émigré's writings.Alexander Bakshy's writings deserve to be better known, for his sound critical-theoretical approach remains relevant to contemporary aesthetic debate. Like many performance-minded scholars today, Bakshy had a daredevil willingness to assess the theater seriously and to encourage the kind of experimentation that promised to advance the expressiveness of dramatic art. Yet surprisingly, the full applicability of many of his pioneering ideas about the drama has yet to be tested—a disheartening state of affairs that, one hopes, the present volume will help to remedy.

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Book SynopsisCreative Industries in Canada is a foundational text that encourages students to think critically about creative industries within a Canadian context and interrogate the current state and future possibilities of the industry. While much of current creative industries literature concerns the United Kingdom, the United States, and Asia, this text captures the breadth of how Canadian industries are organized and experienced, and how they operate.This ambitious collection aims to guide students through the current landscape of Canadian creative industries through three thematic sections. "Production" collects chapters focused on how national discourses and identities are produced through creative industries and the tensions that exist between policy and media. "Participation" explores how we engage with these industries in different roles: as consumer, creator, policy-maker, and more. "Pedagogies" explores how education impacts inclusion and visibility in creative industries.Truly intersectional, Creative Industries in Canada provides students with practical industry knowledge and frameworks to explore the current state of the field and its future. With a broad application to many undergraduate programs, this text is a must-read resource for those pursuing media studies, arts management, creative and cultural industries studies, communications, and arts and humanities.Table of Contents Acknowledgements Introduction - Cheryl Thompson and Miranda Campbell Part I: Production: Meaning Making in the Creative IndustriesChapter 1: Creativity Policies and Districts: The Ambiguous Meaning of Creativity as a Source of Local Tensions in Montréal - Anouk Bélanger & Joëlle GélinasChapter 2: Race and Representation in Canadian Public Podcasting: A CBC Study - Jeff DonisonChapter 3: Institutional Production of Heritage within the Culture Sector in Canada - Susan Ashley Part II: Participation: Working and Community Building in the Creative IndustriesChapter 4: Laughter from the Sidelines: Precarious Work in the Canadian Comedy Industry - Madison TrusolinoChapter 5: Film in Canada's Creative Industries: Old Barriers and New Opportunities - George TurnbullChapter 6: Inclusion, Access, and Equity: Diversity Initiatives in Canada's Game Industry - Matthew Perks & Jennifer Whitson Chapter 7: Creative Hubs: Sites of Community and Creative Work - Mary Elizabeth Luka Part III: Pedagogies: Teaching and Learning through the Creative IndustriesChapter 8: Don Cherry's "You People" Rant: A Critical Race Approach to Understanding Corporate Nationalism, Audience Commodification, and Cultural Citizenship - Ryan J. PhillipsChapter 9: When Black History Month Media Posts Double as Pedagogical Tools: Appraising Existing BHM Coverage and Proposing Future Directions - Selina L. MudavanhuChapter 10: Applying Critical Creativity: Navigating Tensions Between Art & Business in the Creative City - Brandon McFarlaneChapter 11: Transforming Industry Standards: Tensions between Social Change and Media Production Education - Ki Wight GlossaryContributor Biographies

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Book SynopsisThe Performance of Listening in Postcolonial Francophone Culture argues that globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences are informed by sounds ranging from voices, to music, to advertising, to bombs, and beyond. In considering cultural works from French-speaking North Africa and the Middle East all published or released in France from 1962-2011, Solheim’s study of listening across cultural genres will be of interest to any scholar or lay person curious about contemporary postcolonial France. This book is also a primer to contemporary Francophone culture from North Africa and the Middle East. Some of the French-speaking world’s most renowned and adored artists are the subject of this study, including preeminent Algerian feminist novelist, filmmaker and historian Assia Djebar (1936-2015), the first writer of the Maghreb to become part of the Académie Française; celebrated Iranian graphic novelist and filmmaker Marjane Satrapi (Persepolis, Chicken with Plums); the lauded Lebanese-Québecois playwright and dramaturge Wajdi Mouawad (Littorial, Incendies), and Lebanese comic artist and avant jazz trumpeter Mazen Kerbaj, whose improvisation with Israeli fighter jets during the 2006 Israeli War, “Starry Night,” catapulted him to global recognition. An interdisciplinary study of contemporary Francophone cultures, this book will be of interest to French scholars and students in literary studies, performance studies, gender studies, anthropology, history, and ethnomusicology.Trade ReviewReviews ‘Solheim is clearly very able to read in critical depth and offers some original insights … which would have a significant shelf life and broad readership not only in music and cultural studies, but also in sound studies, sociology, history and perhaps even literary studies.’ Helen Julia Minors, Kingston University'In The Performance of Listening in Postcolonial Francophone Culture, Jennifer Solheim foregrounds an important and often overlooked aspect of cultural analysis: the call to listen...The Performance of Listening in Postcolonial Francophone Culture is a fascinating and compelling project.'Claire Launchbury, H-France ReviewTable of ContentsList of Illustrations ixAcknowledgments xi1 Introduction 1Part I: The Performance of Listening in Literary Narratives2 Cut Sound: The Literary Staging of Silence 233 Visual and Sonic Imagery in PostcolonialFrancophone Culture 55Part II: The Performance of Listening in Film and Theater4 Citational Hooks: Music and Middle Eastern GenderIdentities in Postcolonial Francophone Film and Theater 91Part III: The Performance of Listening in Music5 Covering French Universalism: Alter-Globalism inKabyle Music in France 1296 Beirut Calling: The Performance of Listeningin Digital Discourses of Conflict 157Bibliography 166Index 173

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Book SynopsisLessons in resilience in the second wave of the Covid-19 pandemic in India. Focusing on the second wave of the Covid-19 pandemic in India between April and December 2021, Rustom Bharucha’s timely essay reflects on four interconnected realities that haunted this ongoing crisis—death, grief, mourning, and extinction. How do we cope with multiple deaths and the dislocation of rituals when the act of mourning is either postponed or denied? What roles do political surveillance, censorship, the regulation of lockdowns, and the sheer indifference to the lives of people play in the containment of civil liberties? Through vivid examples of photography, theater, dance, visual arts, and the cultures of everyday life, this meditative essay illuminates both the horror of the pandemic as well as its unexpected intimacies and revelations of shared suffering. Against the destruction of nature and the disrespect for the nonhuman, The Second Wave offers lessons in resilience through its reflections on the ethos of waiting and the need to re-envision breath as a vital resource of self-renewal and resistance.Trade Review"An extraordinarily thoughtful meditation on the depiction of illness, death and displacement, the expression of loss and grief, and the possible positive potential of the pandemic experience for the future." * Roughghosts *"The Second Wave is an unsettling read, deeply personal yet universal, horrifying yet infusing hope in the many acts of self-renewal and resistance during the pandemic. It is a book that merits multiple readings." * Biblio *"The Second Wave is an intellectual tour de force of contemplation on the depredations and consequences of the pandemic in India." * The Statesman *"Bharucha has certainly provided us the answer to the question ‘How to write about a tragedy?’ What is certain is that the manner in which Bharucha presents the pandemic before us and the fractures within our societies that he exposes, will change the lens the reader looks at the world through. The book would stay with the reader, urging her to keep coming back to it, a phenomenon rare with nonfiction." * Contributions to Indian Sociology *"Rustom Bharucha brings a poet's attentiveness and a lapidarist’s precision to his analysis of an unforeseen time and India's response to the Covid-induced pandemic." -- Jerry Pinto, author of The Education of Yuri"Cultural critic and dramaturg Rustom Bharucha’s masterful book takes readers on a trip into the second wave of the Covid-19 pandemic in India, with a particular focus on the harrowing days between April and October 2021. . . . Though it might be difficult to imagine finding hope in this scenario, Bharucha does just that—not by denying realities but by identifying in art an unexpected appreciation of what humans are capable of surviving." * Choice *Table of ContentsPreface1. Photography in the PandemicPreambleHospitalCrematoriaGanga Censoring the pandemicOwnershipThe Long MarchProblematizing durationRepresenting Jamlo Ethics of cryingIn the eyes of the law2. No time to MournSymptoms of griefThe Case of Ram Pukar PanditLiving with the deadPerforming mourning: life and art“Artistic” mourning practicesa.Artificeb.Objectsc.Documentaryd.Spectacle“Rudali”: mourning as survival“Walk”: mourning as resistanceMourning: performed or real?3. Endings/BeginningsExitOn the Cusp of Multiple TimesGenocideExtinctionHiroshima museumized: aporias of peaceThe ethos of waitingReclaiming the vitality of the bodyStillness in movementa.Pranab.Oxygen Breath, breathlessness, and combat breathingPostscriptNotes

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Book SynopsisNonprofit arts organizations have to place nonprofit ahead of arts in order to thrive in these pre-post-pandemic days. Most currently don’t. Scene change is a phrase tied to the arts when discussing a literal change from one scene in a play to another, eliciting a new time, place, and situation. Here, however, it refers to actions made at this pivotal moment within the entire sector, where the rules that went into play over half a century ago can no longer apply for the arts to serve their nonprofit purpose. That charitable purpose -- to help those who need the help -- cannot exist in an environment of privilege, exclusivity, and the subjective concept of excellence. Excellence does not put food on a hungry person’s table, if they even have a table. In his brilliantly unpretentious, snarky, and hilarious style, Alan Harrison pulls no punches. He identifies and addresses elitism, defines and defuses toxicity, and provides outlines for success, including a hopeful prediction for the future. This book also provides context for the pinball journeys of a 30-year adventure, leading nonprofit arts organizations in America -- warts and all.

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Book SynopsisShows how the experience of violence in Argentina shed light on a new sense of "being together" that goes beyond bloodline ties. Co-winner of the 2013 inaugural Publication Prize awarded by the Association of Hispanists of Great Britain and Ireland The aftermath of Argentina's last dictatorship (1976-1983) has traditionally been associated with narratives of suffering, which recall the loss of the 30,000 civilians infamously known as the "disappeared". When democracy was recovered, the unspoken rule was that only those related by blood to the missing were entitledto ask for justice. This book both queries and queers this bloodline normativity. Drawing on queer theory and performance studies, it develops an alternative framework for understanding the affective transmission of trauma beyondtraditional family settings. To do so, it introduces an archive of non-normative acts of mourning that runs across different generations. Through the analysis of a broad spectrum of performances - including interviews, memoirs, cooking sessions, films, jokes, theatrical productions and literature - the book shows how the experience of loss has not only produced a well-known imaginary of suffering but also new forms of collective pleasure. Cecilia Sosa received a PhD in Drama from Queen Mary, University of London. She is currently a post-doctoral research fellow at School of Arts & Digital Industries, University of East London.Trade ReviewCecilia Sosa's volume offers an incisive, heart-wrenching yet joyful exploration through the aftermath of the convulse years of the military dictatorship in Argentina (1976-1983), which brought horror and death to Argentine society . . . and of how Argentine society has managed to deal and engage with loss. . . . An engaging and fresh read, the volume's main contribution to the field of memory and identity studies is that it succeeds in providing an innovative theoretical perspective to approach it. 452F * . *This ambitious study provides a timely and valuable contribution to recent scholarly and societal debates on memory and identity politics that extends outside of the Southern Cone. * BULLETIN OF HISPANIC STUDIES *[T]he affective and intellectual pleasure of reading her analyses of the practices featured between the pages of this book clearly demonstrate the ability of people not only to live through trauma, but to live with others in exciting and unexpected ways. * WOMEN & PERFORMANCE *Not only is Sosa's Queering Acts of Mourning riveting and immensely readable, it also constitutes a breakthrough in changing the direction of studies of memory, trauma, mourning, and kinship in post-dictatorial Argentina. * LATIN AMERICAN THEATRE REVIEW *[T]his ambitious study is a valuable contribution to scholarly and societal debates in contemporary Argentina and undoubtedly instructive for other countries grappling with the aftermath state of violence. * JOURNAL OF LATIN AMERICAN STUDIES *Table of ContentsList of Illustrations Preface Introduction Paradoxes of Blood: From the Madres' Queer Mourning to the Kirchnerist Era Black Humour and the Children of the Disappeared Undoing the Cult of the Victim: Los Rubios (2003), M (2007) and La mujer sin cabeza (2008) The Cooking Mother: Hebe de Bonafini and the Conversion of the Former ESMA The Attire of (Post-) Memory: Mi vida después (2009, Lola Arias) Kinship, Loss and Political Heritage: Los topos (2008) and Kirchner's Death Conclusion: The Recovery of the House Afterword Bibliography and Filmography

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Book SynopsisFew individuals have made as much of an impact upon a single medium as has Sergei Eisenstein upon cinema. This book analyses the complex life and works of Eisenstein as film-maker, artist and writer. It explores the major pathways and stages within his career.

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book SynopsisHaunted Homes is a short but groundbreaking study of homes in horror film and television. While haunted houses can be fun and thrilling, Hollywood horror tends to focus on haunted homes, places where the suburban American dream of safety and comfort has turned into a nightmare. From classic movies like The Old Dark House to contemporary works like Hereditary and the Netflix series The Haunting of Hill House, Dahlia Schweitzer explores why haunted homes have become a prime stage for dramatizing anxieties about family, gender, race, and economic collapse. She traces how the haunted home film was intertwined with the expansion of American suburbia, but also explores works like The Witch and The Babadook, which transport the genre to different times and places. This lively and readable study reveals how and why an increasing number of films imagine that home is where the horror is. Watch a video of the author discussing the topic Haunted Homes (https://youtu.be/_irTEfvtZfQ).Trade Review"Dahlia Schweitzer's brilliantly-crafted book provides a perfect autopsy of the haunted house genre. Haunted Homes is not just a useful dissection of a popular subgenre of horror, it provides the perfect re-watch list for fans seeking to confront their inner fears." — Chris Gore, co-founder of Film Threat Dahlia Schweitzer’s “Haunted Homes” A Little Nerd News— The Mo'Kelly Show "Dahlia Schweitzer’s book Haunted Homes is a fascinating exploration of our culture's nearly insatiable desire for films that explore this genre. It is as hard to put down as it is to avert your eyes from the screen, even as you know you’re going to cower in fear." — Michael Grais, co-writer of Poltergeist New Books Network: New Books in Popular Culture interview with Dahlia Schweitzer — New Books Network: New Books in Popular Culture "Exclusive Excerpt from Dahlia Scweitzer's Haunted Homes"— Film Threat "In this highly entertaining book Dahlia Schweitzer takes readers on a tour of the American middle-class suburbs where true evil lurks, from The Cat and the Canary (1927) to The Haunting of Hill House (Netflix, 2018). The American dream to own one’s home has a flipside, namely to be stuck in a place that can be economically draining and literally the entrance to hell. Haunted Homes is one of those rare finds where state-of-the-art research and excellent prose go hand in hand and make you finish this book faster than a thriller.” — Rikke Schubart, author of Mastering Fear: Women, Emotions, and Contemporary Horror "Haunted Homes is a book for anyone who has ever awoken in the depths of the night, convinced that they heard someone–or something–lurking beyond their bedroom door. Through engaging analyses of American Horror Story (2011–) and Get Out (2017), amongst many others, Schweitzer proves that home ownership really is ‘a literal nightmare’."— Alison Peirse, editor of Women Make Horror SKYLIT: Dahlia Schweitzer, “HAUNTED HOMES”— Skylit: Skylight Books Podcast SeriesTable of ContentsIntroduction 1 The Suburbs 2 The Suburban Gothic 3 Gender, Horror, and the Family 4 Race, Horror, and the Family Conclusion Acknowledgments Further Reading Works Cited Index

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Book SynopsisPrestige Television explores how a growing array of 21st century US programming is produced and received in ways that elevate select series above the competition in a saturated market. Contributing authors demonstrate that these shows are positioned and understood as comprising an increasingly recognizable genre characterized by familiar markers of distinction. In contrast to most accounts of elite categorizations of contemporary US television programming that center on HBO and its primary streaming rivals, these essays examine how efforts to imbue series with prestigious or elevated status now permeate the rest of the medium, including network as well as basic and undervalued premium cable channels. Case study chapters focusing on diverse series, ranging from widely recognized examples such as The Americans (2013-2018) and The Knick (2014-15) to contested examples like Queen of the South (2016-2021) and How I Met Your Mother (2005-2014), highlight how contributing authors extend conceptions of the genre beyond expected parameters. Trade Review“Seth Friedman and Amanda Keeler prompt us to rethink conventional wisdom about 'Quality TV' and explore a rich terrain that combines TV industry strategies and textual expressions. The book makes a wonderful contribution to the study of recent and contemporary television and its shifting cultural status.” -- Michael Z. Newman * Professor of English and Media, Cinema, and Digital Studies, University of Wisconsin-Milwaukee *“Closely examining the ways in which industrial, textual, paratextual, and contextual factors have shaped the category of prestige television programming in the 21st century, Seth Friedman and Amanda Keeler invite us to ponder if prestige television should perhaps be recognized as a new genre. This rich and timely volume is a must read for scholars, students, and TV fans alike.” -- Yeidy Rivero * author of Broadcasting Modernity: Cuban Commercial Television, 1950-1960 *Table of ContentsIntroduction 1 SETH FRIEDMAN AND AMANDA KEELERPart I The Fringes of Prestige TV: Genre and Markers of Distinction 1 Spies Like Us: Genre Mixing, Brand Building, and Reagan’s 1980s in The Americans DAVID R. COON 2 Disrupting the Pattern of Prestige TV: Fringe AMANDA KEELER 3 “But Is It Star Trek?”: Prestige, Fandom, and the Return of Star Trek to Television MURRAY LEEDER 4 Negotiating Prestige on The CW: Is Roswell, New Mexico “Another Show about Teenagers Getting F-cked Up and Having Sex” or a Sophisticated Exploration of Racial and Gender Politics? CATHERINE MARTINPart II How Contemporary Programming Met Prestige TV: Unconventional Depictions of Cultural and Televisual Norms 5 Prestige Adaptation by Design: The Commercial Appeal of Latinx Tropes in Queen of the South JAVIER RAMIREZ 6 “Tell Them We Are Gone”: Imperial Narratives, Indigenous Perspectives, and Prestige in The Terror JUSTIN O. RAWLINS 7 Prestige Comedy: Contemporary Sitcom Narrative and Complexity in How I Met Your Mother ANDRE W J. BOTTOMLEYPart III Top of the Media Hierarchy: Cinematization and Television’s Elevation 8 Running The Knick Show: Transfusing Steven Soderbergh’s Authorial Persona into the Prestige Medical Series SETH FRIEDMAN 9 Legitimating Top of the Lake: Jane Campion, the Film Fest, and the Miniseries W. D. PHILLIPS 10 Specters of Serling: Authorship, Television History, and Inherited Prestige in The Twilight Zone (2019–2020) JOSIE TORRES BARTH Acknowledgments Selected Bibliography Notes on Contributors Index

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