Search results for ""fordham university press""

Commons Democracy highlights a poorly understood dimension of democracy in the early United States. It tells a story that, like the familiar one, begins in the Revolutionary era. But instead of the tale of the Founders’ high-minded ideals and their careful crafting of the safe framework for democracy—a representative republican government—Commons Democracy examines the power of the democratic spirit, the ideals and practices of everyday people in the early nation. As Dana D. Nelson reveals in this illuminating work, the sensibility of participatory democratic activity fueled the involvement of ordinary folk in resistance, revolution, state constitution-making, and early national civic dissent. The rich variety of commoning customs and practices in the late colonies offered non-elite actors a tangible and durable relationship to democratic power, one significantly different from the representative democracy that would be institutionalized by the Framers in 1787. This democracy understood political power and liberties as communal, not individual. Ordinary folk practiced a democracy that was robustly participatory and insistently local. To help tell this story, Nelson turns to early American authors—Hugh Henry Brackenridge, James Fenimore Cooper, Robert Montgomery Bird, and Caroline Kirkland—who were engaged with conflicts that emerged from competing ideals of democracy in the early republic, such as the Whiskey Rebellion and the Anti-Rent War as well as the enclosure of the legal commons, anxieties about popular suffrage, and practices of frontier equalitarianism. While Commons Democracy is about the capture of “democracy” for the official purposes of state consolidation and expansion, it is also a story about the ongoing (if occluded) vitality of commons democracy, of its power as part of our shared democratic history and its usefulness in the contemporary toolkit of citizenship.

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What is the proper relationship between human beings and the more-than-human world? This philosophical question, which underlies vast environmental crises, forces us to investigate the tension between our extraordinary powers, which seem to set us apart from nature, even above it, and our thoroughgoing ordinariness, as revealed by the evolutionary history we share with all life. The contributors to this volume ask us to consider whether the anxiety of unheimlichkeit, which in one form or another absorbed so much of twentieth-century philosophy, might reveal not our homelessness in the cosmos but a need for a fundamental belongingness and implacement in it.

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The Storm at Sea: Political Aesthetics in the Time of Shakespeare counters a tradition of cultural analysis that judges considerations of aesthetic autonomy in the early modern context to be either anachronistic or an index of political disengagement. Pye argues that for a post-theocratic era in which the mise-en-forme of the social domain itself was for the first time at stake, the problem of the aesthetic lay at the very core of the political; it is precisely through its engagement with the question of aesthetic autonomy that early modern works most profoundly explore their relation to matters of law, state, sovereignty, and political subjectivity. Pye establishes the significance of a “creationist” political aesthetic—at once a discrete historical category and a phenomenon that troubles our familiar forms of historical accounting—and suggests that the fate of such an aesthetic is intimately bound up with the emergence of modern conceptions of the political sphere. The Storm at Sea moves historically from Leonardo da Vinci to Thomas Hobbes; it focuses on Shakespeare and English drama, with chapters on Hamlet, Othello, A Winter’s Tale, and The Tempest, as well as sustained readings of As You Like It, King Lear, Thomas Kyd’s Spanish Tragedy, and Christopher Marlowe’s Doctor Faustus. Engaging political thinkers such as Carl Schmitt, Giorgio Agamben, Claude Lefort, and Roberto Esposito, The Storm at Sea will be of interest to political theorists as well as to students of literary and visual theory.

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Transferential Poetics presents a method for bringing theories of affect to the study of poetics. Informed by the thinking of Silvan Tomkins, Melanie Klein, and Wilfred Bion, it offers new interpretations of the poetics of four major American artists: Edgar Allan Poe, Henry James, Gertrude Stein, and Andy Warhol. The author emphasizes the close, reflexive attention each of these artists pays to the transfer of feeling between text and reader, or composition and audience— their transferential poetics. The book’s historical route from Poe to Warhol culminates in television, a technology and cultural form that makes affect distinctly available to perception. The peculiar theatricality of these four artists, Frank argues, can best be understood as a reciprocal framing relation between the bodily means of communicating affect (by face and voice) and technologies of graphic reproduction.

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Axis forces (Germany, Italy, and Bulgaria) occupied Greece from 1941 to 1944. The unimaginable hardships caused by foreign occupation were compounded by the flight of the government days before enemy forces reached Athens. This national crisis forced the Church of Greece, an institution accustomed to playing a central political and social role during times of crisis, to fill the political vacuum. Led by Archbishop Damaskinos of Athens, the clergy sought to maintain the cultural, spiritual, and territorial integrity of the nation during this harrowing period. Circumstances forced the clergy to create a working relationship with the major political actors, including the Axis authorities, their Greek allies, and the growing armed resistance movements, especially the communist-led National Liberation Front. In so doing the church straddled a fine line between collaboration and resistance—individual clerics, for instance, negotiated with Axis authorities to gain small concessions, while simultaneously resisting policies deemed detrimental to the nation. Drawing on official archives—of the Greek Ministry of Foreign Affairs, the British Foreign Office, the U.S. State Department, and the Greek Holy Synod—alongside an impressive breadth of published literature, this book provides a refreshingly nuanced account of the Greek clergy’s complex response to the Axis occupation of Greece during World War II. The author’s comprehensive portrait of the reaction of Damaskinos and his colleagues, including tensions and divisions within the clergy, provides a uniquely balanced exploration of the critical role they played during the occupation. It helps readers understand how and why traditional institutions such as the Church played a central social and political role in moments of social upheaval and distress. Indeed, as this book convincingly shows, the Church was the only institution capable of holding Greek society together during World War II. While The Church of Greece under Axis Occupation elucidates the significant differences between the Greek case and those of other territories in Axis-occupied Europe, it also offers fresh insight into the similarities. Greek clerics dealt with many of the same challenges clerics faced in other parts of Hitler’s empire, including exceptionally brutal reprisal policies, deprivation and hunger, and the complete collapse of the social and political order caused by years of enemy occupation. By examining these challenges, this illuminating new book is an important contribution not only to Greek historiography but also to the broader literatures on the Holocaust, collaboration and resistance during World War II, and church–state relations during times of crisis.

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Figures of a Changing World offers a dramatic new account of cultural change, an account based on the distinction between two familiar rhetorical figures, metonymy and metaphor. The book treats metonymy as the basic organizing trope of traditional culture and metaphor as the basic organizing trope of modern culture. On the one hand, metonymies present themselves as analogies that articulate or reaffirm preexisting states of affairs. They are guarantors of facticity, a term that can be translated or defined as fact-like-ness. On the other hand, metaphors challenge the similarity they claim to establish, in order to feature departures from preexisting states of affairs. On the basis of this distinction, the author argues that metaphor and metonymy can be used as instruments both for the large-scale interpretation of tensions in cultural change and for the micro-interpretation of tensions within particular texts. In addressing the functioning of the two terms, the author draws upon and critiques the work of Friedrich Nietzsche, Roman Jakobson, Christian Metz, Paul Ricoeur, Umberto Eco, Edmund Leach, and Paul de Man.

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This new edition of The Twenty-Fifth Amendment: Its Complete History and Applications updates John Feerick’s landmark study with the Amendment’s uses in the past twenty years and how those uses (along with new legal scholarship) have changed the Amendment and perceptions of presidential disability in general. In its formulation, the Twenty-fifth Amendment was criticized as vague and undemocratic, but it has made possible swift and orderly successions to the highest offices in the U.S. government during some of the most extraordinary events in American history. The extent of its authority has been tested over the years: During the Watergate crisis, it was proposed that the Amendment might afford a means by which a president could transfer presidential power during an impeachment proceeding, and it was also suggested that the Amendment could authorize a vice president and cabinet to suspend a president during a Senate impeachment trial. Where once presidential disability was stigmatized, today a president under general anesthesia cedes presidential authority for the length of the procedure with little controversy. The Twenty-fifth Amendment is evolving rapidly, and this book is an invaluable guide for legal scholars, government decision makers, historians, political scientists, teachers, and students studying the nation’s highest offices.

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The Things in Heaven and Earth develops and applies the American philosophical naturalist tradition of the mid–20th century, specifically the work of three of the most prominent figures of what is called Columbia Naturalism: John Dewey, John Herman Randall Jr., and Justus Buchler. The book argues for the philosophical value and usefulness of this underappreciated tradition for a number of contemporary theoretical and practical issues, such as the modernist/postmodernist divide and debates over philosophical constructivism. Pragmatic naturalism offers a distinctive ontology of constitutive relations. Relying on Buchler’s ordinal ontology and on the relationality implicit in Dewey’s instrumentalism, the book gives a detailed account of this approach in chapters that deal with issues in systematic ontology, epistemology, constructivism and objectivity, philosophical theology, art, democratic theory, foreign policy, education, humanism, and cosmopolitanism.

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In Ghost-Watching American Modernity, María del Pilar Blanco revisits nineteenth- and twentieth-century texts from Spanish America and the United States to ask how different landscapes are represented as haunted sites. Moving from foundational fictions to Westerns, Blanco explores the diverse ways in which ghosts and haunting emerge across the American hemisphere for authors who are preoccupied with evoking the experience of geographical transformations during a period of unprecedented development. The book offers an innovative approach that seeks to understand ghosts in their local specificity, rather than as products of generic conventions or as allegories of hidden desires. Its chapters pursue formally attentive readings of texts by Domingo Sarmiento, Henry James, José Martí, W. E. B. Du Bois, Juan Rulfo, Felisberto Hernández, and Clint Eastwood. In an intervention that will reconfigure the critical uses of spectrality for scholars in U.S./Latin American Studies, narrative theory, and comparative literature, Blanco advances ghost-watching as a method for rediscovering haunting on its own terms.

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No topic has caused more discussion in recent philosophy and political theory than sovereignty. From late Foucault to Agamben, and from Guantanamo Bay to the 'war on terror,' the issue of the extent and the nature of the sovereign has given theoretical debates their currency and urgency. New thinking on sovereignty has always imagined the styles of human selfhood that each regime involves. Each denomination of sovereignty requires a specific mode of subjectivity to explain its meaning and facilitate its operation. The aim of this book is to help outline Jacques Derrida's thinking on sovereignty - a theme which increasingly attracted Derrida towards the end of his career - in its relationship to subjectivity. It investigates the late work Rogues: Two Essays on Reason, as not only Derrida's fullest statement of his thinking on sovereignty, but also as the destination of his career-long interest in questions of politics and self-identity. The book argues that in Derrida's thinking of the relationship between sovereignty and subjectivity - and the related themes of unconditionality and ipseity - we can detect the outline of Bataille's adaptation of Freud. Freud completed his 'metapsychology,' by defining the 'economic' nature of subjectivity. In Bataille's hands, this economic theory became a key to the nature of inter-relationship in general, specifically the complex and shifting relationship between subjectivity and power. In playing with Bataille's legacy, Derrida connects not only with the irrepressibly outrageous thinking of philosophy's most self-consciously transgressive thinker, but with the early twentieth century scientific revolution through which 'energy' became ontology. As with so many of the forebears who influenced him, Derrida echoes and adapts Bataille's thinking while radically de-literalising it. The results are crucial for understanding Derrida's views on power, subjectivity and representation, as well as all of the other key themes in late Derrida: hospitality, justice, otherness and the gift.

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The work of Mehmedalija "Mak" Dizdar (1917-71) is the cornerstone of modern Bosnian literature. During the Second World War he was a member of the anti-fascist Partisans. After the war, he became prominent in Bosnian cultural life and eventually President of the Writers' Union of Bosnia and Herzegovina. His work blends influences from Bosnian Christian culture, Islamic mysticism, and the cultural remains of medieval Bosnia, especially its stone tombstones. This book falls into two parts. The first is an essay on Dizdar's major poetry book Stone Sleeper. It argues that in his poetry Dizdar turns to spiritual regions and resources that had been suppressed during the time of communism. From the very outset, Stone Sleeper was recognized as a liberatrion from the ideological disciplines of communism, nationalism, and scientism. Few, however, were able fully to understand the traditional content of its post-traditional form. In this part, Rusmir Mahmutcehajic introduces readers to the traditional substance of Stone Sleeper, in the context of what he calls "perennial philosophy." From that perspective, prophecy, being the source of perennial wisdom, is set above poetry. In some poetry, however, prophetic wisdom and poetic pronouncement exist inseparably. Stone Sleeper is an example of that mutual co-existence. In the second part, the author traces, in a discussion of Dizdar's mystically influenced poem "Blue River," the perennial questions of how we are to discover or realize the human self in relation to God as Creator.

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Written in the wake of Jacques Derrida's death in 2004, Derrida From Now On attempts both to do justice to the memory of Derrida and to demonstrate the continuing significance of his work for contemporary philosophy and literary theory. If Derrida's thought is to remain relevant for us today, it must be at once understood in its original context and uprooted and transplanted elsewhere. Michael Naas thus begins with an analysis of Derrida's attachment to the French language, to Europe, and to European secular thought, before turning to Derrida's long engagement with the American context and to the ways in which deconstruction allows us to rethink the history, identity, and promise of post-9/11 America. Taking as its point of departure several of Derrida's later works (from "Faith and Knowledge" and The Work of Mourning to Rogues and Learning to Live Finally), the book demonstrates how Derrida's analyses of the phantasms of sovereignty, the essential autoimmunity of democracy or religion, or the impossible mourning of the nation-state can help us to understand what is happening today in American culture, literature, and politics. Though Derrida's thought has always lived on only by being translated elsewhere, his disappearance will have driven home this necessity with a new force and an unprecedented urgency. Derrida From Now On is an effect of this force and an attempt to respond to this urgency.

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Jean-Luc Nancy's On the Commerce of Thinking concerns the particular communication of thoughts that takes place by means of the business of writing, producing, and selling books. His reflection is born out of his relation to the bookstore, in the first place his neighborhood one, but beyond that any such "perfumery, rotisserie, patisserie," as he calls them, dispensaries "of scents and flavors through which something like a fragrance or bouquet of the book is divined, presumed, sensed." On the Commerce of Thinking is thus not only something of a semiology of the specific cultural practice that begins with the unique character of the writer's voice and culminates in a customer crossing the bookstore threshold, package under arm, on the way home to a comfortable chair, but also an understated yet persuasive plea in favor of an endangered species. In evoking the peddler who, in times past, plied the streets with books and pamphlets literally hanging off him, Nancy emphasizes the sensuality of this commerce and reminds us that this form of consumerism is like no other, one that ends in an experience-reading-that is the beginning of a limitless dispersion, metamorphosis, and dissemination of ideas. Making, selling, and buying books has all the elements of the exchange economy that Marx analyzed--from commodification to fetishism--yet each book retains throughout an absolute and unique value, that of its subject. With reading, it gets repeatedly reprinted and rebound. For Nancy, the book thus functions only if it remains at the same time open and shut, like some Moebius strip. Closed, it represents the Idea and takes its place in a canon by means of its monumental form and the title and author's name displayed on its spine. But it also opens itself to us, indeed consents to being shaken to its core, in being read each time anew.

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This book is a profound and eagerly anticipated investigation into what is left of a monotheistic religious spirit—notably, a minimalist faith that is neither confessional nor credulous. Articulating this faith as works and as an objectless hope, Nancy deconstructs Christianity in search of the historical and reflective conditions that provided its initial energy. Working through Blanchot and Nietzsche, re-reading Heidegger and Derrida, Nancy turns to the Epistle of Saint James rather than those of Saint Paul, discerning in it the primitive essence of Christianity as hope. The “religion that provided the exit from religion,” as he terms Christianity, consists in the announcement of an end. It is the announcement that counts, however, rather than any finality. In this announcement there is a proximity to others and to what was once called parousia. But parousia is no longer presence; it is no longer the return of the Messiah. Rather, it is what is near us and does not cease to open and to close, a presence deferred yet imminent. In a demystified age where we are left with a vision of a self-enclosed world—in which humans are no longer mortals facing an immortal being, but entities whose lives are accompanied by the time of their own decline—parousia stands as a question. Can we venture the risk of a decentered perspective, such that the meaning of the world can be found both inside and outside, within and without our so-immanent world? The deconstruction of Christianity that Nancy proposes is neither a game nor a strategy. It is an invitation to imagine a strange faith that enacts the inadequation of life to itself. Our lives overflow the self-contained boundaries of their biological and sociological interpretations. Out of this excess, wells up a fragile, overlooked meaning that is beyond both confessionalism and humanism.

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One of the leading theologians of our time, Avery Cardinal Dulles, S.J., has written and lectured on a wide range of topics across his distinguished career, and for a wide range of audiences. Integrating faith and scholarship, he has created a rich body of work that, in the words of one observer, is “both faithful to Catholic tradition and fresh in its engagement with the contemporary world.” Here, brought together for the first time in one volume, are the talks Cardinal Dulles has given twice each year since the Laurence J. McGinley Lectures were initiated in 1988, conceived broadly as a forum on Church and society. The result is a diverse collection that reflects the breadth of his thinking and engages with many of the most important—and difficult—religious issues of our day. Organized chronologically, the lectures are often responses to timely issues, such as the relationship between religion and politics, a topic he treated in the last weeks of the presidential campaign of 1992. Other lectures take up questions surrounding human rights, faith and evolution, forgiveness, the death penalty, the doctrine of religious freedom, the population of hell, and a whole array of theological subjects, many of which intersect with culture and politics. The life of the Church is a major and welcome focus of the lectures, whether they be a reflection on Cardinal Newman or an exploration of the difficulties of interfaith dialogue. Dulles responds frequently to initiatives of the Holy See, discussing gender and priesthood in the context of church teaching, and Pope Benedict’s interpretation of Vatican II. Writing with clarity and conviction, Cardinal Dulles seeks to “render the wisdom of past ages applicable to the world in which we live.” For those seeking to share in this wisdom, this book will be a consistently rewarding guide to what it means to be Catholic—indeed, to be a person of any faith—in a world of rapid, relentless change.

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Corinna, A-Maying the Apocalypse simultaneously celebrates and laments that “we are but decaying.” Betraying a love of old poems and symbols and new words and forms, these are poems where “the moon’s spritzing its perfumes and the phlegm is thick and fast” over cities and Starbucks and suburbs. The poet is in love with the rhythm of the man-made world, and “the rhythm is so strong sometimes / it blows up the room.”

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Whether Aligned with the mechanism whereby the spirit is borne aloft through song comes again the question: whether. And not soothed so much as opened by the boy soprano’s Sanctus, what moves in the mind as the throat constricts in sympathy, one note peeled from the last, fine as paper slipped from a garlic bulb, veined, translucent, is whether—as if wound through the spiraling amplitude, purpled, fretted, one voice suspended in concentration of prayer or terror wills itself above faltering, more perfect since time must soon break it. And made it. Whether and by whatever impossible arrangement of stars, harmonies, correspondences through which the music finds the spirit and like a blade slits and releases, circulates the question through the phrase, the delicate engine—as if it matters: the song rises, everything goes with it. The poems in Crocus take as their starting points the interior universes created by myth, art, and memory, and through the exploration of these terrains create new ways of understanding the ordinary.

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This Minute is a connected whole, in which the verse is driven by strong intellectual excitement, evident in the energetic movement of the lines and in a vocabulary that switches easily from the colloquial to the exact. There is an urgent voice, felt close at hand. And there is a skill in handling and matching the size of a poem to its subject that makes each invigorating to read—one arrives slightly out of breath. These poems convey a “metaphysical” meaning as well as a bodily intimacy. They are luminous, discovering rather than manufacturing their metaphors as the most exact way of speaking. The Early History of Photography The first photographer’s sister spent the summer watching the leaf-imprints disappear. Just like life, she wrote to him, but a little slower; like a chemical recipe for gratitude. Shhh, the first photographer said, hovering over the silver salts arrayed like listening devices. Don’t let the sun know what we’re doing. This is a god we can capture and he’ll never know it, never miss these little fistfuls of glitter, dumbed down. Dear sister, you must know the miracle is in the stoppage. Motion is cheap and plentiful; standing still is what costs and costs. Jean Gallagher is Associate Professor of English at Polytechnic University in New York City. She is the author of The World Wars Through the Female Gaze. To read a sample of Jean Gallagher’s poetry, visit www.poetsoutloud.com

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The Glazier’s Country is a book of history and ethics. The poems follow the life of a survivor of Eastern European pogroms, but the theme is larger: notions of victimhood as an identity, moral certitude, and the differences between justice and revenge are questioned and explored. The poems’ formal qualities mirror the fractured lives of the people in them: seemingly disparate voices break in, words are scattered across the page. But the ultimate message of The Glazier’s Country is an insistence that we can choose wholeness, “choose good / solo & each day / over faith / over clan or country / it is an art / & each day again.”

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Rails Under the Mighty Hudson tells a story that begins in the final years of the nineteenth century and reaches fulfillment in the first decade of the twentieth: namely, the building of rail tunnels under the Hudson River linking New Jersey and New York. These tunnels remain in service today-although one is temporarily out of service since its Manhattan terminal was under the World Trade Center-and are the only rail crossings of the Hudson in the metropolitan area. Two of the tunnels were built by the Hudson and Manhattan Railroad, a company headed by William Gibbs McAdoo, a man who later served as U.S. Secretary of the Treasury and even mounted a campaign for the Democratic presidential nomination at one point. McAdoo's H&M remains in service today as the PATH System of the Port Authority of New York and New Jersey. The other tunnel was opened in 1910 by the Pennsylvania Railroad, led to the magnificent Penn Station on Eighth Avenue and 33rd Street, and remains in daily service today for both Amtrak and New Jersey Transit. The author has updated this new edition with additional photographs, a concluding chapter on recent developments, and a Preface that recounts the last trains of September to the World Trade Center Terminal.

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During the 1880s, a German-born, Boston-based picture publisher successfully commissioned the most ambitious series of battle prints ever published. Louis Prang, best known as the "father of the Christmas card," hired noted military and marine artists to create original scenes of combat, and then reproduced their works in a wildly popular portfolio of chromolithographs. He called the set Prang's War Pictures. They were offered to an eager public accompanied by "descriptive texts" that told the story of each engagement through eyewitness recollection by the heroes of each action. The set proved both appealing and influential, selling vigorously in various editions for a generation, and elevating the stature of military illustration in America. For 20 years, Civil War prints for the masses had featured uninspired, one-dimensional views of armies in hand-to-hand combat.Prang and his artists demonstrated genuine skill and imaginative perspective. They showed both real carnage and important technological advances, revealing both the broad sweep of panoramic battlefields and the intimate action of individual combatants. These famously sepia-toned chromos went on to become familiar illustrations in books and magazines-often offered as definitive examples of Civil War art. But until now, the complete set of 18 chromos has never been collected in a single volume. And the original "Descriptive Texts" first offered Prang's customers as marketing brochures to boost sales-a priceless historical archive in and of themselves-have never been published since, anywhere.Holzer reunites pictures and texts in an authoritative, milestone volume orchestrating prints and descriptions that resurrect Prang's original conception of battle art for the masses for a new generation. The book also features reproductions of the original works of art that inspired the prints, created on commission by battle painter Thure de Thulstrup and naval specialist Julian Oliver Davidson-now housed in art collections around the country-but seldom seen since they were commissioned by Prang as models for his ambitious chromolithographs. This long-needed complete Prang portfolio will undoubtedly become an essential collectible for Civil War aficionados in the country, as well as for libraries and university collections increasingly aware of the importance of art and iconography in defining the Civil War experience and the impact of Civil War memory.

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This is a complete facsimile of the 1904 edition originally published by the Interborough Rapid Transit Company to commemorate the opening of New York’s first subway line. From the perspective of both urban history and the history of transportation, this book is an important primary source. Building the city’s first subway in the early years of the twentieth century required delicate collaboration between public and private interests and called for the expenditure of considerable sums of both public and private money. The book introduces us to Abram S. Hewitt, a late nineteenth-century mayor of New York City. It was Hewitt who realized that, while private capital alone had been perfectly adequate for building elevated rapid transit lines in New York as early as the 1870s, the more costly construction of underground rapid transit lines was far beyond the ability of private corporations to finance. Hewitt set in motion a chain of events that sanctioned the use of public funds for subway construction, with the completed facility then to be leased to a private company for day-to-day operation. The private firm that emerged, both to build and to operate the first subway in New York, was called the Interborough Rapid Transit Company, a name that would later be rendered more crisply as the IRT. The City of New York and the Interborough Rapid transit Company inaugurated service over the city’s first subway line on Thursday afternoon, October 27, 1904. Mayor George B. McClellan, son of the Civil War general, took the controls of the first ceremonial train at City Hall Station in downtown Manhattan and headed north. In one way or another, the subway has been going ever since. The book also presents important tabular and statistical information, as well as clear and concise narrative descriptions of technical details.

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The first comprehensive guide to the Hudson since the works of Ernest Ingersoll were published in the early 1900s, this guidebook arrives to fill the need for a detailed, point-by-point guide to the river from its intersection with the Atlantic to its source in the Adirondacks. Adams offers his reader five routes by which to tour the region. The traveler can venture directly up the main steamboat channel, or choose road and rail routes on the east and west shores of the river. Maps for each route are included, together with suggestions for excursions to many points of local and historical interest along the way. Over 250 photographs and paintings, and excerpts from American authors pepper the book, giving multiple perspectives of the region’s long history. For the armchair as well as the actual traveler, from the Abyssal Plain to Doodletown and Chevaux de-Frise, past Anthony’s nose, Burden’s ironworks, and the Saratoga Battle Field to the Hudson’s source at Lake Tear of the Clouds – this is the perfect traveling guide to the Hudson River region, rich in its history and culture, and ever-plentiful in its breathtaking sights.

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Everyone wonders what goes on down a manhole. This book explores the mysteries beneath New York City's streets, telling the story of hidden pipes and cables and how they are kept in order. It might be called a Sidewalk Superintendent's Guide, but it is much more than that. It is a vivid account of a city in action. The author received the generous cooperation of the engineering personnel of the public utilities and the municipal departments of the city. The text is enhanced by numerous photographs, maps, and diagrams. Harry Granick's Underneath New York was the first book to describe the anatomy of a modern city.

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On April 26, 1865, as Abraham Lincoln's funeral cortege paused in Union Square, New York, before being taken by rail to Springfield, Illinois, William Cullen Bryant listened as his own verse elegy for the slain president was read to a great concourse of mourners by the Reverend Samuel Osgood. Only five years earlier and a few blocks downtown, at Cooper Union, Bryant had introduced the prairie candidate to his first eastern audience. There his masterful appeal to the conscience of the nation prepared the way for his election to the presidency on the verge of the Civil War. Now, Bryant stood below Henry Kirke Brown's equestrian statue of George Washington, impressing Osgood as if he were "the 19tth Century itself thinking over the nation and the age in that presence." Bryant's staunch support of the Union cause throughout the war, and of Lincoln's war efforts, no less than his known influence with the president, led several prominent public figures to urge that he write Lincoln's biography. Oliver Wendell Holmes wrote him, "No man combines the qualities for his biographer so completely as yourself and the finished task would be a noble crown to a noble literary life." But Bryant declined, declaring his inability to record impartially critical events in which he had taken so central a part. Furthermore, while preoccupied with the editorial direction of the New York Evening Post, he was just then repossessing and enlarging his family's homestead at Cummington, Massachusetts, where he hoped his ailing wife might, during long summers in mountain air, regain her health. But in July 1866, Frances died of recurrent rheumatic fever, and, Bryant confessed to Richard Dana, he felt as "one cast out of Paradise." After France's death Bryant traveled with his daughter Julia for nearly a year through Great Britain and the Continent, where he met British statesman and novelist Edward Bulwer Lytton and French literary critic Hyppolyte Taine, renewed his friendship with Spanish poet Carolina Coronado, Italian liberator Giuseppe Garibaldi, and British and American artists, and visited the family of the young French journalist Georges Clemenceau, as well as the graves of earlier acquaintances Francis Lord Jeffrey and Elizabeth Barrett Browning. In his spare moments Bryant sought solace by beginning the translation of Homer, and Longfellow had found relief after his wife's tragic death by rendering into English Dante's Divine Comedy. Home again in New York, Bryant bought and settled in a house at 24 West 16th Street which would be his city home for the rest of his life. Here he completed major publications, including the Iliad and Odyssey of Homer and an exhaustive Library of Poetry and Song, and added to published tributes to earlier friends, such as Thomas Cole, Fenimore Cooper, and Washington Irving, memorial discourses on Fitz-Greene Halleck and Gulian Verplanck. In addition to his continued direction of the New York Homeopathic Medical college and the American Free Trade League, he was elected to the presidency of the Williams College Alumni Association, the International Copyright Association, and the Century Association, the club of artists and writers of which, twenty years earlier, he had been a principal founder and which he would direct for the last decade of his life. The Letters of William Cullen Bryant: Volume V, 1865–1871 is available from the publisher on an open-access basis.

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We tend to feel that works of fiction give us special access to lived experience. But how do novels cultivate that feeling? Where exactly does experience reside? The Location of Experience argues that, paradoxically, novels create experience for us not by bringing reality up close, but by engineering environments in which we feel constrained from acting. By excavating the history of the rise of experience as an important category of Victorian intellectual life, this book reveals how experience was surprisingly tied to emotions of remorse and regret for some of the era's great women novelists: the Brontës, George Eliot, Margaret Oliphant, and Elizabeth Gaskell. It shows how these writers passed ideas about experienceand experiences themselvesamong each other.Drawing on intellectual history, psychology, and moral philosophy, The Location of Experience shows that, through manipulating the psychological dimensions of fiction's formal features, Victorian women n

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Gentleman Jigger stands as a landmark novel, celebrated for its candid exploration of Black sexuality set against the dynamic backdrop of the Harlem Renaissance. The story follows Stuartt, a defiantly queer artist, who navigates the complexities of racial and sexual identity in a period of profound cultural upheaval. Originating from a distinguished light-skinned Black family in Washington D.C., Stuartt immerses himself into the burgeoning arts scene of Harlem, where he aligns with the Niggeratti, a group of young, rebellious artists and writers. This collective boldly challenges their elders' conviction that their creative endeavors should be dedicated solely to the advancement of racial equality.When their rebellion fizzles and they go their separate ways, Stuartt moves downtown to Greenwich Village where, where he fully indulges in his desires, intertwines with underworld figures, and achieves unexpected fame and fortune. It is also a world that, until his Hollywood

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This book offers a unique twist to the Who's Who of midcentury writers, editors, and artistsMuch is made of Flannery O'Connor's life on the Georgia dairy farm, Andalusiaa rural setting that clearly influenced her writing. But before she lived on that farm, before she showed signs of having lupus, before she became dependent on her mother and then succumbed to the disease at thirty-nine, O'Connor lived in the northeast. She stayed at the artists' colony Yaddo in 1948 and early 1949 and lived in Connecticut with good friends from fall of 1949 through all of 1950. But in between those experiences, and perhaps more importantly, O'Connor lived in Manhattan.In her biographies, little is said of her time in Gotham; in some sources, this period gets no more than one sentence. But little is said because little has been known. In Flannery O'Connor's Manhattan, the author's goal is to explore New York City from O'Connor's point of view. To do this, the author consults

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Sentimental Empiricism reconsiders the legacy of eighteenth and nineteenth century empiricism and moral sentimentalism for the intellectual formation of the generation of postwar French thinkers whose work came to dominate Anglophone conversations across the humanities under the guise of French theory. Panagia's book first shows what was missed in the reception of this literature in the Anglophone academy by attending to how France's pedagogical milieu plays out church and state relations in the form of educational debates around reading practices, the aesthetics of mimesis, French imperialism, and republican universalism. Panagia then shows how such thinkers as Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault develop a sentimental empiricist critical philosophy that distances itself from dialectical critique and challenges the metaphysical premise of inherent relations, especially as it had been articulated in the tradition of Aristotelian scholasti

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The first book to seriously identify how artistic activism works and how to make it work betterThe past decade has seen an explosion in the hybrid practice of artistic activism, as artists have turned toward activism to make their work more socially impactful and activists have adopted techniques and perspectives from the arts to make their interventions more creative. Yet questions haunt the practice: Does artistic activism work aesthetically? Does it work politically? And what does working even mean when one combines art and activism? In Æffect, author Stephen Duncombe sets out to address these questions at the heart of the field of artistic activism. Written by the co-founder and current Research Director of the internationally recognized Center for Artistic Activism, Æffect draws on Duncombe's more than twenty-five years of experience in the field and one hundred in-depth interviews with artistic activists worldwide. More than a mere academic exercise, the theory, research, and t

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Complete in English for the first time, a major philosopher's most personal work and the source of an acclaimed film.

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Association of Catholic Publishers 2022 Excellence in Publishing Awards: First Place, Theology Catholic Media Association, Honorable Mention in Theology: Morality, Ethics, Christology, Mariology, and Redemption Unveiling divine mysteries across continents and centuries. Revelation in the Vernacular retrieves a hermeneutics of the vernacular that is rooted en lo cotidiano, in everyday life and experience. Traversing time and geography, Ruiz remaps a theology of revelation done latinamente, beginning with sixteenth-century encounters of Spanish colonizers with Indigenous peoples in the Caribbean. Drawing on the theology of the Incarnation articulated by Fray Luis de León (1527–91), he offers rich resources for interreligious engagement by believers in today’s religiously diverse world. Through an analysis of the documents of the 2019 Amazonian Synod, including Querida Amazonia, the Postsynodal Exhortation by Pope Francis, he explores a culture of encounter and dialogue that has been a hallmark of this pontificate. From the inscriptions in the caves of la Isla de Mona through the writings of the Latin American Bishops (CELAM), this book establishes a solid basis on which to discern the “Seeds of the Word” in our times.

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An illuminating story of a Sufi community that sought the revelation of God. In the Afghan highlands of the sixteenth century, the messianic community known as the Roshaniyya not only desired to find God’s word and to abide by it but also attempted to practice God’s word and to develop techniques of language intended to render their own tongues as the organs of continuous revelation. As their critics would contend, however, the Roshaniyya attempted to make language do something that language should not do—infuse the semiotic with the divine. Their story thus ends in a tower of skulls, the proliferation of heresiographies that detailed the sins of the Roshaniyya, and new formations of “Afghan” identity. In Singing with the Mountains, William E. B. Sherman finds something extraordinary about the Roshaniyya, not least because the first known literary use of vernacular Pashto occurs in an eclectic, Roshani imitation of the Qur’an. The story of the Roshaniyya exemplifies a religious culture of linguistic experimentation. In the example of the Roshaniyya, we discover a set of questions and anxieties about the capacities of language that pervaded Sufi orders, imperial courts, groups of wandering ascetics, and scholastic networks throughout Central and South Asia. In telling this tale, Sherman asks the following questions: How can we make language shimmer with divine truth? How can letters grant sovereign power and form new “ethnic” identities and ways of belonging? How can rhyme bend our conceptions of time so that the prophetic past comes to inhabit the now of our collective moment? By analyzing the ways in which the Roshaniyya answered these types of questions—and the ways in which their answers were eventually rejected as heresies—this book offers new insight into the imaginations of religious actors in the late medieval and early modern Persianate worlds.

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In capitalism human beings act as if they are mere animals. So we hear repeatedly in the history of modern philosophy. Indifference and Repetition examines how modern philosophy, largely coextensive with a particular boost in capitalism’s development, registers the reductive and regressive tendencies produced by capitalism’s effect on individuals and society. Ruda examines a problem that has invisibly been shaping the history of modern, especially rationalist philosophical thought, a problem of misunderstanding freedom. Thinkers like Descartes, Kant, Hegel, and Marx claim that there are conceptions and interpretations of freedom that lead the subjects of these interpretations to no longer act and think freely. They are often unwillingly led into unfreedom. It is thus possible that even “freedom” enslaves. Modern philosophical rationalism, whose conceptual genealogy the books traces and unfolds, assigns a name to this peculiar form of domination by means of freedom: indifference. Indifference is a name for the assumption that freedom is something that human beings have: a given, a natural possession. When we think freedom is natural or a possession we lose freedom. Modern philosophy, Ruda shows, takes its shape through repeated attacks on freedom as indifference; it is the owl that begins its flight, so that the days of unfreedom will turn to dusk.

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This book works to uncover the logic of hatred, to understand how this affect manifests itself historically in persecution and terror apparatuses. More than a historical genealogy of persecution, The Logic of Hatred shows what phenomenology can offer to historical understanding. Focusing on the witch-hunts waged in the fifteenth through seventeenth centuries, the first part of the book analyzes the techniques instigators used to designate and annihilate their targets: the search for diabolical stigma, the confession of “truth” extracted by torture, the constitution of an absolute Enemy through the suggestion of conspiracy, of a world turned upside-down, or the figure of Satan. Rogozinski locates one of the origins of the witch-hunt in the anguish that popular uprisings arouse in dominant classes. The second part of the book extends the investigation to related phenomena, such as the extermination of lepers in the Middle Ages and the Reign of Terror during the French Revolution. By studying these historical experiences and marking their differences and similarities, this book shows the passage from exclusion to persecution and how revolts of the oppressed can let themselves be transformed and captured by persecutory politics. The analyses presented thus shed light on conspiracy theory and the terror apparatuses of our time.

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Humanitarianism has a narrative problem. Far too often, aid to Africa is envisioned through a tale of Western heroes saving African sufferers. While labeling white savior narratives has become a familiar gesture, it doesn’t tell us much about the story as story. Humanitarian Fictions aims to understand the workings of humanitarian literature, as they engage with and critique narratives of Africa. Overlapping with but distinct from human rights, humanitarianism centers on a relationship of assistance, focusing less on rights than on needs, less on legal frameworks than moral ones, less on the problem than on the nonstate solution. Tracing the white savior narrative back to religious missionaries of the nineteenth century, Humanitarian Fiction reveals the influence of religious thought on seemingly secular institutions and uncovers a spiritual, collectivist streak in the discourse of humanity. Because the humanitarian model of care transcends the boundaries of the state, and its networks touch much of the globe, Humanitarian Fictions redraws the boundaries of literary classification based on a shared problem space rather than a shared national space. The book maps a transnational vein of Anglophone literature about Africa that features missionaries, humanitarians, and their so-called beneficiaries. Putting humanitarian thought in conversation with postcolonial critique, this book brings together African, British, and U.S. writers typically read within separate traditions. Paustian shows how the novel—with its profound sensitivity to narrative—can enrich the critique of white saviorism while also imagining alternatives that give African agency its due.

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Liron Mor’s book queries what conflict means in the context of Palestine–Israel. Conflict has long been seen as singular and primary: as an “original sin” that necessitates the state and underwrites politics. This book problematizes this universal notion of conflict, revealing its colonial implications and proposing that conflicts are always politically constructed after the fact and are thus to be understood in their various specific forms. The book explores sites of poetic and political strife in Palestine–Israel by combining a comparative study of Hebrew and Arabic literature with political and literary theory. Mor leverages an archive that ranges from the 1930s to the present, from prose and poetry to film and television, to challenge the conception of the Palestinian–Israeli context as a conflict, delineating the colonial history of this concept and showing its inadequacy to Palestine–Israel. Instead, Mor articulates locally specific modes of theorizing the antagonisms and mediations, colonial technologies, and anticolonial practices that make up the fabric of this site. The book thus offers five figurative conflictual concepts that are derived from the poetics of the works: conflict (judgment/ishtibāk), levaṭim (disorienting dilemmas), ikhtifāʾ (anti/colonial disappearance), ḥoḳ (mediating law), and inqisām (hostile severance). In so doing, Conflicts aims to generate a historically and geographically situated mode of theory-making, which defies the separation between the conceptual and the poetic.

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Offers a fascinating window into how the fraught politics of apology in the East Asian region have been figured in anglophone literary fiction. The Pacific War, 1941-1945, was fought across the world’s largest ocean and left a lasting imprint on anglophone literary history. However, studies of that imprint or of individual authors have focused on American literature without drawing connections to parallel traditions elsewhere. Beyond Hostile Islands contributes to ongoing efforts by Australasian scholars to place their national cultures in conversation with those of the United States, particularly regarding studies of the ideologies that legitimize warfare. Consecutively, the book examines five of the most significant historical and thematic areas associated with the war: island combat, economic competition, internment, imprisonment, and the atomic bombing of Hiroshima and Nagasaki. Throughout, the central issue pivots around the question of how or whether at all New Zealand fiction writing differs from that of the United States. Can a sense of islandness, the ‘tyranny of distance,’ Māori cultural heritage, or the political legacies of the nuclear-free movement provide grounds for distinctive authorial insights? As an opening gambit, Beyond Hostile Islands puts forward the term ‘ideological coproduction’ to describe how a territorially and demographically more minor national culture may accede to the essentials of a given ideology while differing in aspects that reflect historical and provincial dimensions that are important to it. Appropriately, the literary texts under examination are set in various locales, including Japan, the Solomon Islands, New Zealand, New Mexico, Ontario, and the Marshall Islands. The book concludes in a deliberately open-ended pose, with the full expectation that literary writing on the Pacific War will grow in range and richness, aided by the growth of Pacific Studies as a research area.

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An incendiary literary work more relevant now than ever. “if anger were an ax/it would split me open/and if this is a sermon/let it be my granddaddy’s sermon/my grandmother’s foottapping/steady rocking/choir singing” —from “This Is Not a New Age” First published in 1998, Imagine Being More Afraid of Freedom than Slavery is the debut collection by acclaimed poet and performer Pamela Sneed. Provocative and potent, it tackles the political and personal issues of enslavement, sexuality, emotional trauma, and abuse. These poems chart the journey of an artist trying to escape cycles of dependency and reclaim lost self and identity. Drawing parallels to Harriet Tubman’s journey on the Underground Railroad, Sneed’s explorations of the woods are a metaphor and emotional path one must explore to attain self-ownership. Sneed’s poems are bound by the search for love, freedom, and justice—from images of lesbian love to Emmet Till’s bloated body, they offer a raging cry and a roadmap for those interested in transforming the personal into social justice and abolitionist practices.

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One of Book Riot's Must-Have New Poetry for Fall 2023 The remarkable debut collection by a young Nigerian queer poet. “here / i am not his image / & i envy it / i shut my eyes against what is left / the crackling softness of life / like communion / desire is a marathon / a baton waiting for your grip / here / i am not running / neither is he / i sit with a man for the first time / & we talk about war . . .” —FROM “BEAUTIFUL BOY WITH GARLANDS AROUND HIS WAIST” In Gorgeous Display, by Nigerian poet Ugochukwu Damian Okpara, is a volume dedicated to the memory of those lost to anti-queer violence in Nigeria and elsewhere. In this first full-length collection of his work, Okpara examines queer male identity, effeminacy, and exile, offering meditations on desire and sanctuary, freedom and estrangement. Forty-three poems pierce familial relationships, safety, fear, and anxiety portrayed through the outward sign of hand tremors, queer lynching, survival, hope, the emptiness of exile, and reclamation of the self. Embracing the ephemeral and spiritual nature of physical beauty, Okpara also reveals the scars of queer displacement, illuminating the ways that leaving home is never quite the utopia one hopes for and how often the ache of abandonment can haunt a life lived in the present.

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Two developments that occurred over the course of the nineteenth century had a strong impact on Christian theology. The first was a deepening of the implications of historical consciousness, and the second was the impact of science on Christian self-understanding. Marx’s sociology of knowledge symbolizes the first; Darwin’s analysis of evolution symbolizes the second. These intellectual developments gave rise to various forms of process philosophy and theology. Within this context, a dialogue between Christian theology and evolution has yielded dramatically new convictions and practices in Christian spirituality, especially relative to ecology. For more than three decades Catherine Keller has been reflecting on the intellectual and practical effects that an internalization of the dynamic character of reality should have upon the practice of Christian life. Her text illustrates the basic framework of dynamic becoming that science demands, whether or not one is formally a process thinker. Pierre Teilhard de Chardin was an earlier figure who was more zeroed in on the phenomenon of evolution, which he encountered in a distinct way as a Christian scientist trained in geology and paleontology, as distinct from biology or genetics. Evolution explicitly informs his spirituality. These two different Christian writers, the one representing the imaginative framework of being as process and becoming, the other focused on how evolution affects intentional spiritual life, open new perspectives on the spiritual character of people’s active lives of work and creativity in the world that science presents to us.

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Against the Carceral Archive is a meditation upon what author Damien M. Sojoyner calls the “carceral archival project,” offering a distillation of critical, theoretical, and activist work of prison abolitionists over the past three decades. Working from collections at the Southern California Library (Black Panthers, LA Chapter; the Coalition Against Police Abuse; Urban Policy Research Institute; Mothers Reclaiming Our Children; and the collection of geographer Clyde Woods), it builds upon theories of the archive to examine carcerality as the dominant mode of state governance over Black populations in the United States since the 1960s. Each chapter takes up an element of the carceral archive and its destabilization, destruction, and containment of Black life: its notion of the human and the production of “pejorative blackness,” the intimate connection between police and military in the protection of racial capitalism and its fossil fuel–based economy, the role of technology in counterintelligence, and counterinsurgency logics. Importantly, each chapter also emphasizes the carceral archive’s fundamental failure to destroy “Black communal logics” and radical Black forms of knowledge production, both of which contest the carceral archive and create other forms of life in its midst. Concluding with a statement on the reckoning with the radical traditions of thought and being which liberation requires, Sojoyner offers a compelling argument for how the centering of Blackness enables a structuring of the mind that refuses the violent exploitative tendencies of Western epistemological traditions as viable life-affirming practices.

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Toy Stories: Analyzing the Child in Nineteenth-Century Literature explores the stakes of recurrent depictions of children’s violent, damaging, and tenuously restorative play with objects within a long nineteenth century of fictional and educational writing. As Vanessa Smith shows us, these scenes of aggression and anxiety cannot be squared with the standard picture of domestic childhood across that period. Instead, they seem to attest to the kinds of enactments of infant distress we would normally associate with post-psychoanalytic modernity, creating a ripple effect in the literary texts that nest them: regressing developmental narratives, giving new value to wooden characters, exposing Realism’s solid objects to odd fracture, and troubling distinctions between artificial and authentic interiority. Toy Stories is the first study to take these scenes of anger and overwhelm seriously, challenging received ideas about both the nineteenth century and its literary forms. Radically re-conceiving nineteenth-century childhood and its literary depiction as anticipating the scenes, theories, and methodologies of early child analysis, Toy Stories proposes a shared literary and psychoanalytic discernment about child’s play that in turn provides a deep context for understanding both the “development” of the novel and the keen British uptake of Melanie Klein’s and Anna Freud’s interventions in child therapy. In doing so, the book provides a necessary reframing of the work of Klein and Freud and their fractious disagreement about the interior life of the child and its object-mediated manifestations.

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How do the literatures and cultures of oppressed societies survive and flourish in spite of the overdetermining conditions of precarity and injustice of which they are a product and against which they protest? Might the symptom of oppression become simultaneously the agent of its critique? Melancholy Acts offers richly nuanced reflections on these questions through a series of wide-ranging engagements with Arab thought, literature, and film in the aftermath of the 1948 dispossession of Palestinians and the 1967 military defeat of Arab armies. Melancholy Acts offers a psychoaffective theory of cultural production that arises out of the disjunction between political impoverishment and cultural resistance to colonial and neoliberal oppression. Such a theory allows the author to trace the melancholy disposition of Arabic literary and filmic productions and to discern the precarious rhetorical modes of their critical intervention in a culture that is continually strained to its breaking point. Across six chapters, Melancholy Acts reads with rigor and sensitivity contentious topics of Arab contemporaneity such as secular modernity and manhood, Arab nationalism and leftism, literary and artistic iltizām, or commitment, Islamism, and martyrdom. The book tracks the melancholy politics that inform the literary and cultural projects of a multitude of Arab novelists (Ghassan Kanafani and Naguib Mahfouz); poets and playwrights (Mahmoud Darwish, Nizar Qabbani, and Saadallah Wannous); filmmakers (Nouri Bouzid, Moufida Tlatli, Youssef Chahine, and Hany Abu Assad); alongside the work of such intellectuals as Hussein Muruwwa, Malek Bennabi, Karima Lazali, George Tarabishi, and Fethi Benslama, from within the Arab world, as well as such non-Arab thinkers as Freud, Lacan, Adorno, Fanon, Spivak, Butler, and Žižek. Melancholy Acts charts a fresh and bold new approach to Arabic and comparative literature that combines in interlaced simultaneity a high sensitivity to local idioms, as they swerve between symptom and critique, with nuanced knowledge of the geopolitics of theory and psychoanalysis.

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Critics have long viewed translating Arabic literature into English as an ethically fraught process of mediating between two wholly incommensurable languages, cultures, and literary traditions. Today, Arabic literature is no longer “embargoed” from Anglophone cultural spaces, as Edward Said once famously claimed that it was. As Arabic literary works are translated into English in ever-greater numbers, what alternative model of translation ethics can account for this literature’s newfound readability in the hegemonic language of the world literary system? The Worlding of Arabic Literature argues that an ethical translation of a work of Arabic literature is one that transmits the literariness of the source text by engaging new populations of readers via a range of embodied and sensory effects. The book proposes that when translation is conceived of not as an exchange of semantic content but as a process of converting the affective forms of one language into those of another, previously unrecognized modalities of worldliness open up to the source text. In dialogue with a rich corpus of Arabic aesthetic and linguistic theory as well as contemporary scholarship in affect theory, translation theory, postcolonial theory, and world literature studies, this book offers a timely and provocative investigation of how an important literary tradition enters the world literary system. The Worlding of Arabic Literature: Language, Affect, and the Ethics of Translatability is available from the publisher on an open-access basis.

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Today, an international new right has coalesced. Variously described as nativist, right-populist, alt-right, and neofascist, far-right movements in many countries have achieved electoral victories that not long ago seemed highly improbable. They have also developed a new cultural politics. Adapting tactics from the left, the new right has moved from decorum to transgression; from conservative propriety to the frank sexualization of political figures and positions; from appealing to the conscious normalcy of the “silent majority” to recasting itself as a protest movement of and for the aggrieved. These movements share a mandate for robust nationalism, yet they also cultivate a striking international solidarity. Who is the subject of this ethnonationalism? Many new right movements have in fact intensified or laid bare long-standing tendencies, but this volume seeks to address aspects of their cultural politics that raise new and urgent questions. How should we assess the new right’s disconcerting appropriations of strategies of minoritarian resistance? How can we practice critique in the face of adversaries who claim to practice a critique of their own? How do apparently post-normative versions of nationalism give rise to heightened forms of militarism, incarceration, censorship, and inequality? How should we understand the temporality of ethnonationalism, which combines a romance with archaic tradition, an ethos of disruption driven by tech futurism frequently tinged with accelerationist pathos, and a kitschy nostalgia for a hazily defined recent past, when things were “greater” than they are now? Surveying nationalisms from Argentina, Brazil, France, Germany, India, Israel-Palestine, the United Kingdom, and the United States, Reaction Formations gives a critical account of contemporary ethnonationalist cultural politics, while drawing out counterstrategies for anti-fascist resistance. Contributors: Tyler Blakeney, Chiara Bottici, Joshua Branciforte, Gisela Catanzaro, Melinda Cooper, Julian Göpffarth, Ramsey McGlazer, Benjamin Noys, Bruno Perreau, Rahul Rao, Shaul Setter, and M. Ty

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Theosis shapes contemporary Orthodox theology in two ways: positively and negatively. In the positive sense, contemporary Orthodox theologians made theosis the thread that bound together the various aspects of theology in a coherent whole and also interpreted patristic texts, which experienced a renaissance in the twentieth century, even in Orthodox theology. In the negative sense, contemporary theologians used theosis as a triumphalistic club to beat down Catholic and Protestant Christians, claiming that they rejected theosis in favor of either a rationalistic or fideistic approach to Christian life. The essays collected in this volume move beyond this East–West divide by examining the relation between faith, reason, and theosis from Orthodox, Catholic, and Protestant perspectives. A variety of themes are addressed, such as the nature–grace debate and the relation of philosophy to theology, through engagement with such diverse thinkers as Thomas Aquinas, John Wesley, Meister Eckhart, Dionysius the Areopagite, Symeon the New Theologian, Panayiotis Nellas, Vladimir Lossky, Martin Luther, Martin Heidegger, Sergius Bulgakov, John of the Cross, Delores Williams, Evagrius of Pontus, and Hans Urs von Balthasar. The essays in this book are situated within a current thinking on theosis that consists of a common, albeit minimalist, affirmation amidst the flow of differences. The authors in this volume contribute to the historical theological task of complicating the contemporary Orthodox narrative, but they also continue the “theological achievement” of thinking about theosis so that all Christian traditions may be challenged to stretch and shift their understanding of theosis even amidst an ecumenical celebration of the gift of participation in the life of God.

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