Search results for ""Fordham University Press""

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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William Seraile uncovers the history of the colored orphan asylum, founded in New York City in 1836 as the nation’s first orphanage for African American children. It is a remarkable institution that is still in the forefront aiding children. Although no longer an orphanage, in its current incarnation as Harlem-Dowling West Side Center for Children and Family Services it maintains the principles of the women who organized it nearly 200 years ago. The agency weathered three wars, two major financial panics, a devastating fire during the 1863 Draft Riots, several epidemics, waves of racial prejudice, and severe financial difficulties to care for orphaned, neglected, and delinquent children. Eventually financial support would come from some of New York’s finest families, including the Jays, Murrays, Roosevelts, Macys, and Astors. While the white female managers and their male advisers were dedicated to uplifting these black children, the evangelical, mainly Quaker founding managers also exhibited the extreme paternalistic views endemic at the time, accepting the advice or support of the African American community only grudgingly. It was frank criticism in 1913 from W. E. B. Du Bois that highlighted the conflict between the orphanage and the community it served, and it wasn’t until 1939 that it hired the first black trustee. More than 15,000 children were raised in the orphanage, and throughout its history letters and visits have revealed that hundreds if not thousands of “old boys and girls” looked back with admiration and respect at the home that nurtured them throughout their formative years. Weaving together African American history with a unique history of New York City, this is not only a painstaking study of a previously unsung institution of black history but a unique window onto complex racial dynamics during a period when many failed to recognize equality among all citizens as a worthy purpose.

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In Hating Empire Properly, Sunil Agnani produces a novel attempt to think the eighteenth-century imagination of the West and East Indies together, arguing that this is how contemporary thinkers Edmund Burke and Denis Diderot actually viewed them. This concern with multiple geographical spaces is revealed to be a largely unacknowledged part of the matrix of Enlightenment thought in which eighteenth-century European and American self-conceptions evolved. By focusing on colonial spaces of the Enlightenment, especially India and Haiti, he demonstrates how Burke's fearful view of the French Revolution—the defining event of modernity— as shaped by prior reflection on these other domains. Exploring with sympathy the angry outbursts against injustice in the writings of Diderot, he nonetheless challenges recent understandings of him as a univocal critic of empire by showing the persistence of a fantasy of consensual colonialism in his thought. By looking at the impasses and limits in the thought of both radical and conservative writers, Agnani asks what it means to critique empire “properly.” Drawing his method from Theodor Adorno’s quip that “one must have tradition in oneself, in order to hate it properly,” he proposes a critical inhabiting of dominant forms of reason as a way forward for the critique of both empire and Enlightenment. Thus, this volume makes important contributions to political theory, history, literary studies, American studies, and postcolonial studies.

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Challenging prevalent conceptualizations of modernity—which treat it either as a Western ideology imposed by colonialism or as a universal narrative of progress and innovation—this study instead offers close readings of the simultaneous performances and contestations of modernity staged in works by authors such as Rifa’a al-Tahtawi, Ahmad Faris al-Shidyaq, Tayeb Salih, Hanan al-Shaykh, Hamdi Abu Golayyel, and Ahmad Alaidy. In dialogue with affect theory, deconstruction, and psychoanalysis, the book reveals these trials to be a violent and ongoing confrontation with and within modernity. In pointed and witty prose, El-Ariss bridges the gap between Nahda (the so-called Arab project of Enlightenment) and postcolonial and postmodern fiction.

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This volume takes up the challenge implied in Augustine’s paradox of time: How does one account for the continuity of history and the certitude of memory, if time, in the guise of an indivisible “now,” cuts off any extension of the present? The thinkers and artists the essays address include Augustine, Abelard, Eriugena and Thoreau, Calvin, Shakespeare, De Rance, Stravinsky and Messiaen, Rubens and Woolf.

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Hospitality is a multifaceted concept that has been received by, and worked into, various academic realms and disciplines, such as philosophy, politics, anthropology, aesthetics, ethics, and translation studies. The essays collected in this volume, by a wide range of international contributors, examine how, in the wake of the work of Levinas and the late Derrida, this concept has entered into and transformed the thinking of these disciplines.

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In this new book, Dimitris Vardoulakis asks how it is possible to think of a politics that is not commensurate with sovereignty. For such a politics, he argues, sovereignty is defined not in terms of the exception but as the different ways in which violence is justified. Vardoulakis shows how it is possible to deconstruct the various justifications of violence. Such dejustifications can take place only by presupposing an other to sovereignty, which Vardoulakis identifies with radical democracy. In doing so, Sovereignty and Its Other puts forward both a novel critique of sovereignty and an original philosophical theory of democratic practice.

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In Private Lives, Public Deaths, Jonathan Strauss shows how Sophocles’ tragedy Antigone crystallized the political, intellectual, and aesthetic forces of an entire historical moment—fifth century Athens—into one idea: the value of a single living person. That idea existed, however, only as a powerful but unconscious desire. Drawing on classical studies, Hegel, and contemporary philosophical interpretations of this pivotal drama, Strauss argues that Antigone’s tragedy, and perhaps all classical tragedy, represents a failure to satisfy this longing. To the extent that the value of a living individual remains an open question, what Sophocles attempted to imagine still escapes our understanding. Antigone is, in this sense, a text not from the past but from our future.

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The central aim of this book is to approach contemporary problems raised by technologies of life and death as ethical issues that call for a more nuanced approach than mainstream philosophy can provide. To do so, it draws on the recently published seminars of Jacques Derrida to analyze the extremes of birth and dying insofar as they are mediated by technologies of life and death. With an eye to reproductive technologies, it shows how a deconstructive approach can change the very terms of contemporary debates over technologies of life and death, from cloning to surrogate motherhood to capital punishment, particularly insofar as most current discussions assume some notion of a liberal individual. The ethical stakes in these debates are never far from political concerns such as enfranchisement, citizenship, oppression, racism, sexism, and the public policies that normalize them. Technologies of Life and Death thus provides pointers for rethinking dominant philosophical and popular assumptions about nature and nurture,chance and necessity, masculine and feminine, human and animal, and what it means to be a mother or a father. In part, the book seeks to disarticulate a tension between ethics and politics that runs through these issues in order to suggest a more ethical politics by turning the force of sovereign violence back against itself. In the end, it proposes that deconstructive ethics with a psychoanalytic supplement can provide a corrective for moral codes and political clichés that turn us into mere answering machines.

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Jean-Luc Marion: The Essential Writings is the first anthology of this major contemporary philosopher’s writings. It spans his entire career as a historian of philosophy, as a theologian, and as a theoretician of “saturated phenomena.” The editor’s long general Introduction situates Marion in the history of modern philosophy, especially phenomenology, and shorter introductions preface each section of the anthology. The entire volume will enable professors to teach Marion by assigning a single book, and the editor’s introductions will make it possible for students to learn enough about phenomenology to read Marion without having to take preliminary courses in Husserl and Heidegger.

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The 21st century might well be called the age of hatred. This is not because there is more violence in the world but because hatred has been transformed from a concept perceived to be a by-product of personal or collective violence into a discursive field. But what if longstanding antagonisms, especially those between social groups, turned out to involve desire rather than revulsion? The Ideology of Hatred develops a psychosocial framework for understanding this new phenomenon by interrogating unconscious mechanisms within national discourse. It opens new and timely venues for thinking about the paradoxes of love and hate while raising questions about social attachment and otherness. Is it possible that hatred operates by maintaining a safe closeness, enhancing the illusion of separateness as well as a sense of proximity at one and the same time? Could it be that love actually survives through the discourse of hatred as an invisible relation of attachment, necessary but unthinkable? A key term in the book is the “political unconscious,” a concept signifying the transformation of the unthinkable into a language that disavows the desire of and for the Other. Invoking this and other psychoanalytic concepts, the book proposes that at the heart of all national conflicts lies a riddle: the enigma of desire. The discourse of hatred works today as both a defense mechanism and as a political fantasy whose dream is to annihilate the Other of desire, that familial and different, threatening and intimate Other. Yet because love-in-hatred is denied but not erased, love can therefore also be reimagined. This suggests that untying and recognizing relations of intimacy and dependency can, under certain circumstances, change the discourse of hatred into relations of peace and even friendship. In addition to its strong theoretical component, the book is also based on extensive empirical research, especially into hate relations among Jews and between Jews and Palestinians in Israel.

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Cinepoetry analyzes how French poets have remapped poetry through the lens of cinema for more than a century. In showing how poets have drawn on mass culture, technology, and material images to incorporate the idea, technique, and experience of cinema into writing, Wall-Romana documents the long history of cross-media concepts and practices often thought to emerge with the digital. In showing the cinematic consciousness of Mallarmé and Breton and calling for a reappraisal of the influential poetry theory of the early filmmaker Jean Epstein, Cinepoetry reevaluates the bases of literary modernism. The book also explores the crucial link between trauma and trans-medium experiments in the wake of two world wars and highlights the marginal identity of cinepoets who were often Jewish, gay, foreign-born, or on the margins. What results is a broad rethinking of the relationship between film and literature. The episteme of cinema, the book demonstates, reached the very core of its supposedly highbrow rival, while at the same time modern poetry cultivated the technocultural savvy that is found today in slams, e-poetry, and poetic-digital hybrids.

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Two ways of understanding the aesthetic organization of literary works have come down to us from the late 18th century and dominate discussions of European modernism today: the aesthetics of autonomy, associated with the self-sufficient work of art, and the aesthetics of fragmentation, practiced by the avant-gardes. In this revisionary study, Leonardo Lisi argues that these models rest on assumptions about the nature of truth and existence that cannot be treated as exhaustive of modernist form. Lisi traces an alternative aesthetics of dependency that provides a different formal structure, philosophical foundation, and historical condition for modernist texts. Taking Europe's Scandinavian periphery as his point of departure, Lisi examines how Søren Kierkegaard and Henrik Ibsen imagined a response to the changing conditions of modernity different from those at the European core, one that subsequently influenced Henry James, Hugo von Hofmannsthal, Rainer Maria Rilke, and James Joyce. Combining close readings with a broader revision of the nature and genealogy of modernism, Marginal Modernity challenges what we understand by modernist aesthetics, their origins, and their implications for how we conceive of our relation to the modern world.

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Why do humans get angry with objects? Why is it that a malfunctioning computer, a broken tool, or a fallen glass causes an outbreak of fury? How is it possible to speak of an inanimate object’s recalcitrance, obstinacy, or even malice? When things assume a will of their own and seem to act out against human desires and wishes rather than disappear into automatic, unconscious functionality, the breakdown is experienced not as something neutral but affectively—as rage or as outbursts of laughter. Such emotions are always psychosocial: public, rhetorically performed, and therefore irreducible to a “private” feeling. By investigating the minutest details of life among dysfunctional household items through the discourses of philosophy and science, as well as in literary works by Laurence Sterne, Jean Paul, Friedrich Theodor Vischer, and Heimito von Doderer, Kreienbrock reconsiders the modern bourgeois poetics that render things the way we know and suffer them.

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How may progressive political theorists advance the Enlightenment after Darwin shifted the conversation about human nature in the 19th century, the Holocaust displayed barbarity at the historical center of the Enlightenment, and 9/11 showed the need to modify the ideals and strategies of the Enlightenment? Kantian Courage considers how several figures in contemporary political theory—including John Rawls, Gilles Deleuze, and Tariq Ramadan—do just this as they continue Immanuel Kant’s legacy. Rather than advocate specific Kantian ideas, the book contends that political progressives should embody Kantian courage—a critical and creative disposition to invent new political theories to address the problems of the age. It illuminates Kant’s legacy in contemporary intellectual debates; constructs a dialogue among Anglo-American, Continental, and Islamic political theorists; and shows how progressives may forge alliances across political and religious differences by inventing concepts such as the overlapping consensus, the rhizome, and the space of testimony. The book will interest students of the Enlightenment, contemporary political theorists and philosophers, and a general audience concerned about the future of the relationship between Islam and the West.

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Exploring the subject of Jewish philosophy as a controversial construction site of the project of modernity, this book examines the implications of the different and often conflicting notions that drive the debate on the question of what Jewish philosophy is or could be. The idea of Jewish philosophy begs the question of philosophy as such. But “Jewish philosophy” does not just reflect what “philosophy” lacks. Rather, it challenges the project of philosophy itself. Examining the thought of Spinoza, Moses Mendelssohn, Heinrich Heine, Hermann Cohen Franz Rosenzweig, Martin Buber, Margarete Susman, Hermann Levin Goldschmidt, and others, the book highlights how the most philosophic moments of their works are those in which specific concerns of their “Jewish questions” inform the rethinking of philosophy’s disciplinarity in principal terms. The long overdue recognition of the modernity that informs the critical trajectories of Jewish philosophers from Spinoza and Mendelssohn to the present emancipates not just “Jewish philosophy” from an infelicitous pigeonhole these philosophers so pointedly sought to reject but, more important, emancipates philosophy from its false claims to universalism.

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Witnessing Witnessing focuses critical attention on those who receive the testimony of Holocaust survivors. Questioning the notion that traumatic experience is intrinsically unspeakable and that the Holocaust thus lies in a quasi-sacred realm beyond history, the book asks whether much current theory does not have the effect of silencing the voices of real historical victims. It thereby challenges widely accepted theoretical views about the representation of trauma in general and the Holocaust in particular as set forth by Giorgio Agamben, Cathy Caruth, Berel Lang, and Dori Laub. It also reconsiders, in the work of Theodor Adorno and Emmanuel Levinas, reflections on ethics and aesthetics after Auschwitz as these pertain to the reception of testimony. Referring at length to videotaped testimony and to texts by Charlotte Delbo, Primo Levi, and Jorge Semprun, the book aims to make these voices heard. In doing so, it clarifies the problems that anyone receiving testimony may encounter and emphasizes the degree to which listening to survivors depends on listening to ourselves and to one another. Witnessing Witnessing seeks to show how, in the situation of address in which Holocaust survivors call upon us, we discover our own tacit assumptions about the nature of community and the very manner in which we practice it.

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Theology usually appears to us to be dogmatic, judgmental, condescending, maybe therapeutic, or perhaps downright fantastical—but seldom enticing. Divine Enticement takes as its starting point that the meanings of theological concepts are not so much logical, truth-valued propositions—affirmative or negative—as they are provocations and evocations. Thus it argues for the seductiveness of both theology and its subject—for, in fact, infinite seduction and enticement as the very sense of theological query. The divine name is one by which we are drawn toward the limits of thought, language, and flesh. The use of language in such conceptualization calls more than it designates. This is not a flaw or a result of vagueness or imprecision in theological language but rather marks the correspondence of such language to its subject: that which, outside of or at the limit of our thought, draws us as an enticement to desire, not least to intellectual desire. Central to the text is the strange semiotics of divine naming, as a call on that for which there cannot be a standard referent. The entanglement of sign and body, not least in interpretations of the Christian incarnation, both grounds and complicates the theological abstractions. A number of traditional notions in Christian theology are reconceived here as enticements, modes of drawing the desires of both body and mind: faith as “thinking with assent”; sacraments as “visible words” read in community; ethics as responsiveness to beauty; prayer as the language of address; scripture as the story of meaning-making. All of these culminate in a sense of a call to and from the purely possible, the open space into which we can be enticed, within which we can be divinely enticing.

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This collection of essays is the first book to take up the urgent issue of torture from the array of approaches offered by the arts and humanities. In the post-9/11 era, where we are once again compelled to entertain debates about the legality of torture, this volume speaks about the practice in an effort to challenge the surprisingly widespread acceptance of state-sanctioned torture among Americans, including academics and the media–entertainment complex. Speaking about Torture also claims that the concepts and techniques practiced in the humanities have a special contribution to make to this debate, going beyond what is usually deemed a matter of policy for experts in government and the social sciences. It contends that the way one speaks about torture—including that one speaks about it—is key to comprehending, legislating, and eradicating torture. That is, we cannot discuss torture without taking into account the assaults on truth, memory, subjectivity, and language that the humanities theorize and that the experience of torture perpetuates. Such accounts are crucial to framing the silencing and demonizing that accompany the practice and representation of torture. Written by scholars in literary analysis, philosophy, history, film and media studies, musicology, and art history working in the United States, Europe, and the Middle East, the essays in this volume speak from a conviction that torture does not work to elicit truth, secure justice, or maintain security. They engage in various ways with the limits that torture imposes on language, on subjects and community, and on governmental officials, while also confronting the complicity of artists and humanists in torture through their silence, forms of silencing, and classic means of representation. Acknowledging this history is central to the volume’s advocacy of speaking about torture through the forms of witness offered and summoned by the humanities.

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America has a love–hate relationship with individualism. In Reconstructing Individualism, James Albrecht argues that our conceptions of individualism have remained trapped within the assumptions of classic liberalism. He traces an alternative genealogy of individualist ethics in four major American thinkers—Ralph Waldo Emerson, William James, John Dewey, and Ralph Ellison. These writers’ shared commitments to pluralism (metaphysical and cultural), experimentalism, and a melioristic stance toward value and reform led them to describe the self as inherently relational. Accordingly, they articulate models of selfhood that are socially engaged and ethically responsible, and they argue that a reconceived—or, in Dewey’s term, “reconstructed”—individualism is not merely compatible with but necessary to democratic community. Conceiving selfhood and community as interrelated processes, they call for an ongoing reform of social conditions so as to educate and liberate individuality, and, conversely, they affirm the essential role individuality plays in vitalizing communal efforts at reform.

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This book grows out of a longstanding fascination with the uncanny status of the mother in literature, philosophy, psychoanalysis, film, and photography. The mother haunts Freud’s writings on art and literature, emerges as an obscure stumbling block in his metapsychological accounts of the psyche, and ultimately undermines his patriarchal accounts of the Oedipal complex as a foundation for human culture. The figure of the mother becomes associated with some of psychoanalysis’s most unruly and enigmatic concepts (the uncanny, anxiety, the primal scene, the crypt, and magical thinking). Read in relation to deconstructive approaches to the work of mourning, this book shows how the maternal function challenges traditional psychoanalytic models of the subject, troubles existing systems of representation, and provides a fertile source for nonmimetic, nonlinear conceptions of time and space. The readings in this book examine the uncanny properties of the maternal function in psychoanalysis, technology, and literature in order to show that the event of birth is radically unthinkable and often becomes expressed through uncontrollable repetitions that exceed the bounds of any subject. The maternal body often serves as an unacknowledged reference point for modern media technologies such as photography and the telephone, which attempt to mimic its reproductive properties. To the extent that these technologies aim to usurp the maternal function, they are often deployed as a means of regulating or warding off anxieties that are provoked by the experience of loss that real separation from the mother invariably demands. As the incarnation of our first relation to the strange exile of language, the mother is inherently a literary figure, whose primal presence in literary texts opens us up to the unspeakable relation to our own birth and, in so doing, helps us give birth to new and fantasmatic images of futures that might otherwise have remained unimaginable.

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Miracle and Machine is a sort of “reader’s guide” to Jacques Derrida’s 1994–95 essay “faith and knowledge,” his most important work on the nature of religion in general and on the unprecedented forms it is taking today through science and the media. It provides essential background for understanding Derrida’s essay, commentary on its unique style and its central figures (e.g., Kant, Hegel, Bergson, and Heidegger), and assessment of its principal philosophical claims about the fundamental duplicity of religion and the ineluctably autoimmune relationship among religion, science, and the media. Along the way it offers in-depth analysis of Derrida’s treatment of everything from the nature of religious revelation, faith, prayer, sacrifice, testimony, messianicity, fundamentalism, and secularism to the way religion is today being transformed by globalization, technoscience, and worldwide telecommunications networks. But Miracle and Machine is much more than a commentary on a single Derrida text. Through references to scores of other works by Derrida, both early and late, it also provides a unique introduction to Derrida’s work in general. It demonstrates that one of the very best ways to understand the terms, themes, claims, strategies, and motivations of Derridean deconstruction from the early 1960s through 2004 is to read critically and patiently, in its spirit and in its letter, an exemplary text such as “Faith and Knowledge.” Finally, Miracle and Machine attempts to put Derrida’s ideas about religion to the test by reading alongside “Faith and Knowledge” an already classic work of American fiction that is more or less contemporaneous with it, Don DeLillo’s 1997 Underworld, a novel that explores the same relationship between faith and knowledge, religion and science, religious revelation and the World Wide Web, messianicity, and weapons of mass destruction—in a word, in two words, miracles and machines.

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This book employs a philosophical approach to the “new wounded” (brain lesion patients) to stage a confrontation between psychoanalysis and contemporary neurobiology, focused on the issue of trauma and psychic wounds. It thereby reevaluates the brain as an organ that is not separated from psychic life but rather at its center. The “new wounded” suffer from psychic wounds that traditional psychoanalysis, with its emphasis on the psyche’s need to integrate events into its own history, cannot understand or cure. They are victims of various cerebral lesions or attacks, including degenerative brain diseases such as Parkinson’s and Alzheimer’s. Changes caused by cerebral lesions frequently manifest themselves as an unprecedented metamorphosis in the patient’s identity. A person with Alzheimer’s disease, for example, is not—or not only—someone who has “changed” or been “modified” but rather a subject who has become someone else. The behavior of subjects who are victims of “sociopolitical traumas,” such as abuse, war, terrorist attacks, or sexual assaults, displays striking resemblances to that of subjects who have suffered brain damage. Thus today the border separating organic trauma and sociopolitical trauma is increasingly porous. Effacing the limits that separate “neurobiology” from “sociopathy,” brain damage tends also to blur the boundaries between history and nature. At the same time, it reveals that political oppression today assumes the guise of a traumatic blow stripped of all justification. We are thus dealing with a strange mixture of nature and politics, in which politics takes on the appearance of nature, and nature disappears in order to assume the mask of politics.

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In this engaging, erudite new book, Robert J. Kaczorowski, director of the Condon Institute of Legal History, immerses readers in the story of Fordham Law School from the day it opened its doors in 1905 in the midst of massive changes in the United States, in the legal profession, and in legal education. Kaczorowski explores why so many immigrants and their children needed the founding of Catholic law schools in order to enter the legal profession in the first half of the twentieth century. He documents how, in the 1920s and 1930s, when the legal profession’s elites were actively trying to raise barriers that would exclude immigrants, Dean Wilkinson and the law faculty at Fordham were implementing higher standards while simultaneously striving to make Fordham the best avenue into the legal profession for New York City’s immigrants. Tracing Fordham Law School’s history in the context of developments in legal education over the course of the twentieth century, this book pinpoints those factors that produce greatness in a law school and those that contribute to its decline. Fordham University School of Law: A History shows and explains why, prior to World War II, Fordham was one of the leading law schools in America and, along with Columbia's, one of the top two law schools in New York City. As one of those leading schools, Fordham was in the vanguard of legal education reform, and its faculty made important contributions to legal scholarship. Fordham University School of Law: A History also reveals that, after World War II, the Law School suffered a decline, primarily because of inadequate funding resulting from the university’s fiscal policies. These policies brought the university’s administration into direct conflict with the American Bar Association (ABA) and the Association of American Law Schools (AALS), which consistently observed that the Law School was being starved for funds compared with its peer schools, with the result that peer law schools were improving their quality while Fordham was in decline. The conflict, which did not approach resolution at Fordham until the last quarter of the century, was replicated throughout legal education, especially in Catholic universities—yet this is the first scholarly work to document and explain it. Kaczorowski’s wonderfully contextualized, meticulously documented history of Fordham Law School brings readers right up to the present day and traces how the Law School, with the unprecedented financial support and active involvement of its alumni, is resuming its prior position as one of the nation’s leading law schools.

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From Slave Ship to Harvard is the true story of an African American family in Maryland over six generations. The author has reconstructed a unique narrative of black struggle and achievement from paintings, photographs, books, diaries, court records, legal documents, and oral histories. From Slave Ship to Harvard traces the family from the colonial period and the American Revolution through the Civil War to Harvard and finally today. Yarrow Mamout, the first of the family in America, was an educated Muslim from Guinea. He was brought to Maryland on the slave ship Elijah and gained his freedom forty-four years later. By then, Yarrow had become so well known in the Georgetown section of Washington, D.C., that he attracted the attention of the eminent American portrait painter Charles Willson Peale, who captured Yarrow’s visage in the painting that appears on the cover of this book. The author here reveals that Yarrow’s immediate relatives—his sister, niece, wife, and son—were notable in their own right. His son married into the neighboring Turner family, and the farm community in western Maryland called Yarrowsburg was named for Yarrow Mamout’s daughter-in-law, Mary “Polly” Turner Yarrow. The Turner line ultimately produced Robert Turner Ford, who graduated from Harvard University in 1927. Just as Peale painted the portrait of Yarrow, James H. Johnston’s new book puts a face on slavery and paints the history of race in Maryland. It is a different picture from what most of us imagine. Relationships between blacks and whites were far more complex, and the races more dependent on each other. Fortunately, as this one family’s experience shows, individuals of both races repeatedly stepped forward to lessen divisions and to move America toward the diverse society of today.

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Toni Morrison: An Ethical Poetics situates Toni Morrison as a writer who writes about writing as much as about racialized, engendered, and sexualized African American, and therefore American, experience. In foregrounding the ethics of fiction writing, the book resists any triumphalist reading of Morrison’s achievement in order to allow the meditative, unsettled, and unsettling questions that arise throughout her long labor at the nexus of language and politics, where her fiction interrogates representation itself. Moving between close reading and critical theory, Toni Morrison: An Ethical Poetics reveals the ways in which Morrison’s primary engagement with language has been a search for how and what language is made to communicate, and for how and what speaks in and from generation to generation. There is no easy escape from such legacy, no escape into a pure language free of the burdens of racialized agendas. Rather, there is the example of Morrison’s commitment to writerly, which is to say readerly, wakefulness. At a time when sustained study devoted to single authors has become rare, this book will be an invaluable resource for readers, scholars, and teachers of Morrison’s work.

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Since the earlier twentieth century, literary genres have traveled across magnetic, wireless, and electronic planes. Literature may now be anything from acoustic poetry and oral performance to verbal–visual constellations in print and on screen, cinematic narratives, or electronic textualities that range from hypertext to Flash. New technologies have left their imprint on literature as a paper-based medium, and vice versa. This volume explores the interactions between literature and screenbased media over the past three decades. How has literature turned to screen, how have screens undone the tyranny of the page as a medium of literature, and how have screens affected the page in literary writing? This volume answers these questions by uniquely integrating perspectives from digital literary studies, on the one hand, and film and literature studies, on the other. “Page” and “screen” are familiar catchwords in both digital literary studies and film and literature studies. The contributors reassess literary practice at the edges of paper, electronic media, and film. They show how the emergence of a new medium in fact reinvigorates the book and the page as literary media, rather than signaling their impending death. While previous studies in this field have been restricted to the digitization of literature alone, this volume shows the continuing relevance of film as a cultural medium for contemporary literature. Its integrative approach allows readers to situate current shifts within the literary field in a wider, long-term perspective.

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Since the earlier twentieth century, literary genres have traveled across magnetic, wireless, and electronic planes. Literature may now be anything from acoustic poetry and oral performance to verbal–visual constellations in print and on screen, cinematic narratives, or electronic textualities that range from hypertext to Flash. New technologies have left their imprint on literature as a paper-based medium, and vice versa. This volume explores the interactions between literature and screenbased media over the past three decades. How has literature turned to screen, how have screens undone the tyranny of the page as a medium of literature, and how have screens affected the page in literary writing? This volume answers these questions by uniquely integrating perspectives from digital literary studies, on the one hand, and film and literature studies, on the other. “Page” and “screen” are familiar catchwords in both digital literary studies and film and literature studies. The contributors reassess literary practice at the edges of paper, electronic media, and film. They show how the emergence of a new medium in fact reinvigorates the book and the page as literary media, rather than signaling their impending death. While previous studies in this field have been restricted to the digitization of literature alone, this volume shows the continuing relevance of film as a cultural medium for contemporary literature. Its integrative approach allows readers to situate current shifts within the literary field in a wider, long-term perspective.

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Since the mid-1970s, Lebanon has been at the center of the worldwide rise in sectarian extremism. Its cultural output has both mediated and resisted this rise. Standing by the Ruins reviews the role of culture in supporting sectarianism, yet argues for the emergence of a distinctive aesthetic of resistance to it. Focusing on contemporary Lebanese fiction, film, and popular culture, this book shows how artists reappropriated the twin legacies of commitment literature and the ancient topos of “standing by the ruins” to form a new “elegiac humanism” during the tumultuous period of 1975 to 2005. It redirects attention to the critical role of culture in conditioning attitudes throughout society and is therefore relevant to other societies facing sectarian extremism. Standing by the Ruins is also a strong intervention in the burgeoning field of World Literature. Elaborating on the great Arabist Hilary Kilpatrick’s crucial insight that ancient Arabic forms and topoi filter into modern literature, the author details how the “standing by the ruins” topos—and the structure of feeling it conditions—has migrated over time. Modern Arabic novels, feature films, and popular culture, far from being simply cultural imports, are hybrid forms deployed to respond to the challenges of contemporary Arab society. As such, they can take their place within a World Literature paradigm: they are cultural products that travel and intervene in the world.

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Over the past two decades, the world has witnessed alarming environmental degradation—climate change, the loss of biodiversity, and the pollution of natural resources—together with a failure to implement environmental policies and an ever-widening gap between rich and poor. As this new volume of his writings reveals, Ecumenical Patriarch Bartholomew has continually proclaimed the primacy of spiritual values in determining environmental ethics and action. For him, the predicament we face is not primarily ecological but in fact spiritual: The ultimate aim is to see all things in God, and God in all things. On Earth as in Heaven demonstrates just why His All Holiness has been dubbed the “Green Patriarch” by former Vice President Al Gore (recipient of the Nobel Peace Prize for his environmental activism) and the media. This third and final volume of the spiritual leader’s selected writings showcases his statements on environmental degradation, global warming, and climate change. It contains numerous speeches and interviews in various circumstances, including ecological symposia, academic seminars, and regional and international events, over the first twenty years of his ministry. This volume also encompasses a selection of pastoral letters and exhortations—ecclesiastical, ecumenical, and academic—by His All Holiness for occasions such as Easter and Christmas, honorary doctorates, and academic awards. On Earth as in Heaven is a rich collection, essential for religious scholars, those looking for a deeper understanding of Orthodox Christianity, and anyone concerned with the environmental and social issues we face today.

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The zombie is ubiquitous in popular culture: from comic books to video games, to internet applications and homemade films, zombies are all around us. Investigating the zombie from an interdisciplinary perspective, with an emphasis on deep analytical engagement with diverse kinds of texts, Better Off Dead addresses some of the more unlikely venues where zombies are found while providing the reader with a classic overview of the zombie’s folkloric and cinematic history. What has the zombie metaphor meant in the past? Why does it continue to be so prevalent in our culture? Where others have looked at the zombie as an allegory for humanity’s inner machinations or claimed the zombie as capitalist critique, this collection seeks to provide an archaeology of the zombie—tracing its lineage from Haiti, mapping its various cultural transformations, and suggesting the post-humanist direction in which the zombie is ultimately heading. Approaching the zombie from many different points of view, the contributors look across history and across media. Though they represent various theoretical perspectives, the whole makes a cohesive argument: The zombie has not just evolved within narratives; it has evolved in a way that transforms narrative. This collection announces a new post-zombie, even before the boundaries of this rich and mysterious myth have been completely charted.

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In this brief but comprehensive book, Francis Deng offers a creative analysis of the situation, aimed at addressing, and hopefully resolving, the complex dilemmas confronting Sudan, Africa, and the international community over the critical choice the South will make in January 2011—unity or secession. This book is a powerful statement by an individual who is deeply concerned about the plight of his people and the destiny of his country, a man who, in many ways, symbolizes the lofty aspirations for unity in which diversity is seen as a source of enrichment and not of destructive conflict, a unity of full equality among all its citizens. Sudan at the Brink is a must-read for all those concerned with developments in Sudan at this critical juncture in the history of the country. Whatever decision the Sudanese make in the January 2011 referendum, it is imperative that it be an informed choice carefully weighing the implications of secession versus unity. These profound options will likely be debated in the United Nations General Assembly. They will also be carefully considered in multiple other forums where the future of humanitarian action, peacekeeping, and development are considered.

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Focusing on major authors and problems from the Italian fourteenth and sixteenth centuries, from Petrarch and Boccaccio to Machiavelli, Ariosto and Tasso, A Local Habitation and a Name examines the unstable dialectic of “reality” and “imagination,” as well as of “history” and “literature.” Albert Ascoli identifies and interprets the ways in which literary texts are shaped by and serve the purposes of multiple, intertwined historical discourses and circumstances, and he equally probes the function of such texts in constructing, interpreting, critiquing, and effacing the histories in which they are embedded. Throughout, he poses the theoretical and methodological question of how formal analysis and literary forms can at once resist and further the historicist enterprise. Along the way Ascoli interrogates the mechanisms of historical periodization that have governed for so long our study of what is sometimes called the “Renaissance,” sometimes the early modern period. He also addresses the period’s own unstable version of the literature/history opposition, the place of gendered discourse in the construction of historical narratives (and vice versa), the elaborate formal strategies by which poets and intellectuals negotiate their relations to power, and, finally, the way in which proper names (of authors, works, and exemplary characters) serve as points of negotiation between individual identity and social order in the Renaissance. The book brings to culmination two decades of a major scholar’s thinking about some of the most important figures and questions that shaped the Renaissance, with emphasis on the question of history, both the historical context of literature and the writing of literary history.

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The four talks collected here transcribe lectures delivered to an audience of children between the ages of ten and fourteen, under the auspices of the “little dialogues” series at the Montreuil’s center for the dramatic arts. Modeled on Walter Benjamin’s “Aufklärung für Kinder” radio talks, this series aims to awaken its young audience to pressing philosophical concerns. Each talk in God, Justice, Love, Beauty explores what is at stake in these topics as essential moments in human experience. (Indeed, the book argues that they are constitutive of human experience.) Following each, Nancy’s audience is given a chance to engage with him in a process of philosophical questioning; the texts of these touching and probing exchanges are included in the volume. Despite the fact that these lectures were delivered to an audience of children, the intellectual level they achieve—while remaining easily comprehensible—is astounding. No attempt is made to simplify Nancy’s positions or to resolve the complexities that arise in the course of the talks or the question periods that follow. The work of opening performed here is fully in keeping with the strategy of Nancy’s philosophy as a whole. Thus, for readers unfamiliar with his work, God, Justice, Love, Beauty will function as an excellent introduction to Nancy’s larger corpus. As varied as the individual talks are, they share the motif of incalculability or the immeasurable. Broadly speaking, one could say that the various ways in which Nancy approaches this motif exemplify his deconstructive approach to think of human existence. As well, those treatments exemplify his conviction that the task of thinking is to develop original ways of communicating the incalculable. God, Justice, Love, Beauty is thus a skillful reminder that philosophy is important to all of us. The book is also a model of intellectual generosity and openness. Seamlessly moving from Schwarzenegger to Plato, from Kant, Roland Barthes, and Caravaggio to Caillou, Harry Potter, and the pages of Gala magazine, Nancy’s wide-ranging references bear witness to his commitment to think of “culture” in its broadest sense.

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William Seraile uncovers the history of the colored orphan asylum, founded in New York City in 1836 as the nation’s first orphanage for African American children. It is a remarkable institution that is still in the forefront aiding children. Although no longer an orphanage, in its current incarnation as Harlem-Dowling West Side Center for Children and Family Services it maintains the principles of the women who organized it nearly 200 years ago. The agency weathered three wars, two major financial panics, a devastating fire during the 1863 Draft Riots, several epidemics, waves of racial prejudice, and severe financial difficulties to care for orphaned, neglected, and delinquent children. Eventually financial support would come from some of New York’s finest families, including the Jays, Murrays, Roosevelts, Macys, and Astors. While the white female managers and their male advisers were dedicated to uplifting these black children, the evangelical, mainly Quaker founding managers also exhibited the extreme paternalistic views endemic at the time, accepting the advice or support of the African American community only grudgingly. It was frank criticism in 1913 from W. E. B. Du Bois that highlighted the conflict between the orphanage and the community it served, and it wasn’t until 1939 that it hired the first black trustee. More than 15,000 children were raised in the orphanage, and throughout its history letters and visits have revealed that hundreds if not thousands of “old boys and girls” looked back with admiration and respect at the home that nurtured them throughout their formative years. Weaving together African American history with a unique history of New York City, this is not only a painstaking study of a previously unsung institution of black history but a unique window onto complex racial dynamics during a period when many failed to recognize equality among all citizens as a worthy purpose.

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This is a book about the ethics of authorship. Most directly, it explores different conceptualizations of the responsibilities of the author to the reader. But it also engages the question of what styles of authorship allow these responsibilities to be met. Style itself is an ethical issue, since the relation between the writing subject and the reader--and the dynamics of authority and influence, of gift giving and friendship in this relation--have as much to do with how one writes as what one says. The two writers who serve as the main subjects for this work, the German idealist philosopher G. W. F. Hegel and the Danish Christian existentialist Søren Kierkegaard, invite us to confront particularly challenging questions about the ethics of authorship. Each in his own way explores styles of authorship that employ a variety of strategies of seduction in order to entice the reader into his narratives, strategies that at least on the surface appear to be fundamentally manipulative and unethical. Further, both seek to enact their own deaths as authors, effectively disappearing as reliable guides for the reader. That might also seem to be ethically irresponsible, an abandonment of the reader, who has been seduced only to be deserted. This is the first work to undertake a sustained questioning of Kierkegaard's central distinction between his own "indirect" style of communication and the (purportedly) "direct" style of Hegel's philosophy. Hegel was in fact a much more subtle practitioner of style than Kierkegaard represents him as being, indeed, a practitioner whose style is in the service of an ambitious reconceptualization of the ethics of authorship. As for Kierkegaard, his own indirect style raises a whole series of ethical questions about how the reader is imagined in relation to the author. There is finally an either/or between Hegel and Kierkegaard, just not the one Kierkegaard proposes as between an author devoid of ethics and one who makes possible a true ethics of authorship. Rather, the either/or is between two competing practices of authorship, one daunting with the cadences of a highly technical style, the other delightful for its elegance and playfulness--but both powerful experiments in the ethics of style.

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Françoise Dastur is well respected in France and Europe for her mastery of phenomenology as a movement and her clear and cogent explications of phenomenology in movement. These qualities are on display in this remarkable volume. Dastur guides the reader through a series of phenomenological questions—language and logic, self and other, temporality and history, finitude and mortality—that also call phenomenology itself into question, testing its limits and pushing it in new directions. Like Merleau-Ponty, Dastur sees phenomenology not as a doctrine, a catalogue of concepts and catchphrases authored by a single thinker, but as a movement in which several thinkers participate, each inflecting the movement in unique ways. In this regard, Dastur is both one of the clearest guides to phenomenology and one of its ablest practitioners.

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This book examines how modernizing German-speaking cultures, undergoing their own processes of identification, responded to the narcissistic threat posed by the continued persistence of Judentum (Judaism, Jewry, Jewishness) by representing “the Jew”’s body—or rather parts of that body and the techniques performed upon them. Such fetish-producing practices reveal the question of German-identified modernity to be inseparable from the Jewish Question. But Jewish-identified individuals, immersed in the phantasmagoria of such figurations—in the gutter and garret salon, medical treatise and dirty joke, tabloid caricature and literary depiction, church façade and bric-a-brac souvenir—had their own question, another Jewish Question. They also had other answers, for these physiognomic fragments not only identified “the Jew” but also became for some Jewish-identified individuals the building blocks for working through their particular situations and relaying their diverse responses. The Other Jewish Question maps the dissemination of and interrelationships among these corporeal signifiers in Germanophone cultures between the Enlightenment and the Shoah. Its analyses of ascribed Jewish physiognomy include tracing the gendered trajectory of the reception of Benedict Spinoza’s correlation of Jewish persistence, anti-Semitism, and circumcision; the role of Zopf (“braid”) in mediating German Gentile–Jewish relations; the skin(ny) on the association of Jews and syphilis in Arthur Dinter’s antisemitic bestseller Sin against the Blood and Adolf Hitler’s Mein Kampf; as well as the role of Jewish corporeality in the works of such Jewish-identified authors as Rahel Levin Varnhagen, Heinrich Heine, Karl Marx, Max Nordau, Franz Kafka, and Walter Benjamin, as well as such “Jew”-identifying writers as Ludwig Feuerbach and Daniel Paul Schreber. The Other Jewish Question portrays how Jewish-identified individuals moved beyond introjection and disavowal to appropriate and transform this epidemic of signification to make sense of their worlds and our modernity.

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The canon for Catholic social teaching spreads to six hundred pages,yet fewer than two pages are devoted to Catholic social learning or pedagogy. In this long-needed book, Roger Bergman begins to correct that gross imbalance. He asks: How do we educate (“lead out”) the faith that does justice? How is commitment to social justice provoked and sustained over a lifetime? To address these questions, Bergman weaves what he has learned from thirty years as a faith-that-does-justice educator with the best of current scholarship and historical authorities. He reflects on personal experience; the experience of Church leaders, lay activists, and university students; and the few words the tradition itself has to say about a pedagogy for justice. Catholic Social Learning explores the foundations of this pedagogy, demonstrates its practical applications, and illuminates why and how it is fundamental to Catholic higher education. Part I identifies personal encounters with the poor and marginalized as key to stimulating a hunger and thirst for justice. Part II presents three applications of Catholic social learning: cross-cultural immersion as illustrated by Creighton University’s Semestre Dominicano program; community-based service learning; and the teaching of moral exemplars such as Dorothy Day, Rev. Martin Luther King Jr., and Archbishop Oscar Romero. Part III then elucidates how a pedagogy for justice applies to the traditional liberal educational mission of the Catholic university, and how it can be put into action. Catholic Social Learning is both a valuable, practical resource for Christian educators and an important step forward in the development of a transformative pedagogy.

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How can sincere, well-meaning people unintentionally perpetuate discrimination based on race, sex, sexuality, or other socio-political factors? To address this question, Lara Trout engages a neglected dimension of Charles S. Peirce's philosophy - human embodiment - in order to highlight the compatibility between Peirce's ideas and contemporary work in social criticism. This compatibility, which has been neglected in both Peircean and social criticism scholarship, emerges when the body is fore-grounded among the affective dimensions of Peirce's philosophy (including feeling, emotion, belief, doubt, instinct, and habit). Trout explains unintentional discrimination by situating Peircean affectivity within a post-Darwinian context, using the work of contemporary neuroscientist Antonio Damasio to facilitate this contextual move. Since children are vulnerable, naïve, and dependent upon their caretakers for survival, they must trust their caretaker's testimony about reality. This dependency, coupled with societal norms that reinforce historically dominant perspectives (such as being heterosexual, male, middle-class, and/or white), fosters the internalization of discriminatory habits that function non-consciously in adulthood. The Politics of Survival brings Peirce and social criticism into conversation. On the one hand, Peircean cognition, epistemology, phenomenology, and metaphysics dovetail with social critical insights into the inter-relationships among body and mind, emotion and reason, self and society. Moreover, Peirce's epistemological ideal of an infinitely inclusive community of inquiry into knowledge and reality implies a repudiation of exclusionary prejudice. On the other hand, work in feminism and race theory illustrates how the application of Peirce's infinitely inclusive communal ideal can be undermined by non-conscious habits of exclusion internalized in childhood by members belonging to historically dominant groups, such as the economically privileged, heterosexuals, men, and whites. Trout offers a Peircean response to this application problem that both acknowledges the "blind spots" of non-conscious discrimination and recommends a communally situated network of remedies including agapic love, critical common-sensism, scientific method, and self-control.

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In this updated and expanded edition of the acclaimed Economics and Financing of Media Companies, leading economist and media specialist Robert G. Picard employs business concepts and analyses to explore the operations and activities of media firms and the forces and issues affecting them. Picard has added new examples and new data, and he covers such emerging areas as the economics of digital media. Using contemporary examples from American and global media companies, the book contains a wealth of information, including useful charts and tables, important for both those who work in and study media industries. It goes beyond simplistic explanations to show how various internal and external forces direct and constrain decisions in media firms and the implications of the forces on the type of media and content offered today.

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In the century between 1870 and 1970, about twenty-seven million migrants left Italy to work and live abroad. As a result, the worldwide Italian diaspora reportedly numbers more than sixty million people. Until now, however, there has not been an anthology devoted to the literature of the Italian diaspora that places it in a global context. This landmark volume presents a truly international selection of works by more than seventy Italian-language poets who are writing in countries from Australia to Venezuela. Their poetry is collected here into eleven geographical regions. The history and current state of Italian-language poetry in each region receives a critical overview by a knowledgeable scholar, who also introduces each poet and provides a bibliography of his or her work. All poems appear on facing pages in both Italian and English. Poets of the Italian Diaspora is part of a long-range project, by the editors and contributors, to expand the boundaries of the Italian literary canon.

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Secrets of Becoming brings into conversation modes of thought traditionally held apart: Whitehead’s philosophy of the event, Deleuze’s philosophy of multiplicity, and Judith Butler’s philosophy of gender difference. Why should one try to connect these strains of thinking? What might make the work of these thinkers negotiable with one another? This volume finds that bridge in an emphasis on “becoming” that secretly defines the philosophies of Whitehead, Deleuze, and Butler. Its three sections investigate their surprising confluence in a “philosophy of becoming” in relation to the question of the event, bodies and societies, and immanence and divinity. A substantial Introduction gives an extended comparison of the three thinkers.

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Through informative case studies, this illuminating book remaps considerations of the Civil War and Reconstruction era by charting the ways in which the needs, interests, and experiences of going to war, fighting it, and making sense of it informed and directed politics, public life, social change, and cultural memory after the war’s end. In doing so, it shows that “the war” did not actually end with Lee’s surrender at Appomattox and Lincoln’s assassination in Washington. As the contributors show, major issues remained, including defining “freedom”; rebuilding the South; integrating women and blacks into postwar society, culture, and polities; deciding the place of the military in public life; demobilizing or redeploying soldiers; organizing a new party system; and determining the scope and meanings of “union.”

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Victorian-era divas who were better paid than some corporate chairmen, the boy soprano who grew up to give Bing Crosby a run for his money, music directors who were literally killed by the job—the plot of a Broadway show or a dime-store novel? No, the unique and colorful history of St. Patrick’s Cathedral. Since its inception more than 125 years ago, the Cathedral Choir has been considered the gold standard of liturgical music—an example of artistic excellence that has garnered worldwide renown. Yet behind this stately facade lies an intriguing mix of New York history, star secrets, and high-level office politics that has made the choir not only a source of prime musical entertainment but also fodder for tabloids and periodicals across the nation. In this unique and engaging book, readers are treated to a treasure trove of vibrant characters, from opera stars from around the world to the thousands of volunteer singers who brought their own hopes and dreams—and widely varying musical abilities—to the fabled choir. As the city’s preeminent Catholic institution, St. Patrick’s Cathedral has served one of the most dynamic and diverse communities in the world for well over a century. It has been intimately entwined with the history of New York: a major center of culture in the nation’s cultural capital. The Cathedral Choir provides an extraordinary and largely overlooked insight into this history, and in Salvatore Basile’s pitch-perfect exploration it becomes a microcosm for the larger trends, upheavals, and events that have made up the history of the city, the nation, and even the world. Basile also illuminates the choir’s important role in New Yorkers’ responses to some of the most momentous events of the past one hundred years, from world wars to world’s fairs, from the sinking of the Titanic to 9/11, as well as its central role in the rituals and celebrations that have made life in the city more joyful—and bearable—for millions of people over the decades. While the phrase “church choir” usually evokes the image of a dowdy group of amateurs, the phrase “Choir of St. Patrick’s Cathedral” has always meant something quite different. Salvatore Basile’s splendid history shows just how different, and just how spectacular, the music of St. Patrick’s is.

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This book, the first themed volume in the series The Future of the Religious Past, elaborates the manifold and fascinating interconnections between power and religion. It carries forward the work of the series in bringing together scholars from many disciplines and countries to research forms of religion in a way unfettered by the idea that religion is solely or even primarily a matter of belief in specific tenets or intellectual systems—it is also a matter of multiple particulars in individual and social life, such as powers, things, gestures, and words. Dealing with the nexus of religion and power, the present volume radically undermines the idea that the political relevance of religion is a thing of the past. Its essays treat power as a central aspect of religion on many levels, from that of macro-politics through the links between religion and nationhood to the level of personal empowerment or its obverse, disempowerment. Power and religion are both omnipresent in human action and interaction. There is no human act that does not include some kind of faith in a positive outcome and no deed in which power does not play some role. People obviously can attempt to use religion as an instrument to enhance their power or improve their status, whether personally or at the level of the nationstate. Yet religion is in principle ambiguous in relation to power: It can disempower as well as empower, and it can even function as a critique of existing power relations. Moreover, there is the consolatory function of religion, offering ways of compensation, of healing, and of enduring feelings of powerlessness. Like the first volume in the series, Religion: Beyond a Concept, the essays in this volume strike a balance between broad analyses of the nature of religion and power in their modes of emergence today and specific case studies from anthropology, sociology, and the arts. It is noteworthy for the breadth of the material it treats and its reach outside the Christian West, while not taking anything in that Western tradition for granted, given the astonishing changes of supposedly familiar religious phenomena we are viewing in the contemporary world.

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The terrorist attacks of September 11, 2001, did symbolic as well as literal damage. A trace of this cultural shock echoes in the American idiom “9/11”: a bare name-date conveying both a trauma (the unspeakable happened then) and a claim on our knowledge. In the first of the two interlinked essays making up The Rhetoric of Terror, Marc Redfield proposes the notion of “virtual trauma” to describe the cultural wound that this name-date both deflects and relays. Virtual trauma describes the shock of an event at once terribly real and utterly mediated. In consequence, a tormented self-reflexivity has tended to characterize representations of 9/11 in texts, discussions, and films, such as World Trade Center and United 93. In the second half of the book, Redfield examines the historical and philosophical infrastructure of the notion of “war on terror.” Redfield argues that the declaration of war on terror is the exemplary postmodern sovereign speech act: it unleashes war as terror and terror as war, while remaining a crazed, even in a certain sense fictional performative utterance. Only a pseudosovereign—the executive officer of the world’s superpower—could have declared this absolute, phantasmatic, yet terribly damaging war. Though politicized terror and absolute war have their roots in the French Revolution and the emergence of the modern nation-state, Redfield suggests that the idea of a war on terror relays the complex, spectral afterlife of sovereignty in an era of biopower, global capital, and telecommunication. A moving, wide-ranging, and rigorous meditation on the cultural tragedy of our era, The Rhetoric of Terror also unfolds as an act of mourning for Jacques Derrida. Derrida’s groundbreaking philosophical analysis of iterability—iterability as the exposure to repetition with a difference elsewhere that makes all technics, signification, and psychic life possible—helps us understand why questions of mediation and aesthetics so rapidly become so fraught in our culture; why efforts to repress our essential political, psychic, and ontological vulnerability generate recursive spasms of violence; why ethical living-together involves uninsurable acts of hospitality. The Rhetoric of Terror closes with an affirmation of eirenic cosmopolitanism.

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Theodor W. Adorno's multifaceted work has exerted a profound impact on far-ranging discourses and critical practices in late modernity. His analysis of the fate of art following its alleged end, of ethical imperatives "after Auschwitz," of the negative dialectic of myth and freedom from superstition, of the manipulation of consciousness by the unequal siblings of fascism and the culture industry, and of the narrowly-conceived concept of reason that has given rise to an unprecedented exploitation of nature and needless human suffering, all speak to central concerns of our time. The essays collected here analyze the full range of implications emanating from Adorno's demand that the task of critical thinking be to imagine a mode of being in the world that occurs in and through a language that has liberated itself from the spell of an alleged historical and political inevitability, what he once tellingly called a "language without soil." Adorno' s finely chiseled sentences perform a ceaseless gesture of thoughtful vigilance, a vigilance understood not in the sense of moralizing or ethical normativity but of a rigorous attention to the presuppositions of thinking itself. The volume's fresh readings conspire to yield a refractory and unorthodox Adorno, a suggestive and at times infuriating thinker of the first order, whose intellectual gestures sponsor politically conscious modes of theoretical speculation in a late modernity that may still have a future because its language and aspirations are without soil. Also included is an annotated translation of a seminal interview Adorno gave in 1969 concerning the relationship of Critical Theory to political activism. In it, the dialectical interplay between thought and action forcefully emerges.

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