Search results for ""duke university press""

In 1972 the artist Adrian Piper began periodically dressing as a persona called the Mythic Being, striding the streets of New York in a mustache, Afro wig, and mirrored sunglasses with a cigar in the corner of her mouth. Her Mythic Being performances critically engaged with popular representations of race, gender, sexuality, and class; they challenged viewers to accept personal responsibility for xenophobia and discrimination and the conditions that allowed them to persist. Piper’s work confronts viewers and forces them to reconsider assumptions about the social construction of identity. Adrian Piper: Race, Gender, and Embodiment is an in-depth analysis of this pioneering artist’s work, illustrated with more than ninety images, including twenty-one in color.Over the course of a decade, John P. Bowles and Piper conversed about her art and its meaning, reception, and relation to her scholarship on Kant’s philosophy. Drawing on those conversations, Bowles locates Piper’s work at the nexus of Conceptual and feminist art of the late 1960s and 1970s. Piper was the only African American woman associated with the Conceptual artists of the 1960s and one of only a few African Americans to participate in exhibitions of the nascent feminist art movement in the early 1970s. Bowles contends that Piper’s work is ultimately about our responsibility for the world in which we live.

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Why Stories Matter is a powerful critique of the stories that feminists tell about the past four decades of Western feminist theory. Clare Hemmings examines the narratives that make up feminist accounts of recent feminist history, highlights the ethical and political dilemmas raised by these narratives, and offers innovative strategies for transforming them. Drawing on her in-depth analysis of feminist journals, such as Signs, Feminist Review, and Feminist Theory, Hemmings argues that feminists portray the development of Western feminism through narratives of progress, loss, and return. Whether celebrating the move beyond unity or identity, lamenting the demise of a feminist political agenda, or proposing a return to a feminist vision from the past, by advancing these narratives feminists construct a mobile “political grammar” too easily adapted for postfeminist agendas. Hemmings insists that it is not enough for feminist theorists to lament what is most often perceived as the co-optation of feminism in global arenas. They must pay attention to the amenability of their own stories, narrative constructs, and grammatical forms to broader discursive uses of gender and feminism if history is not simply to repeat itself. Since citation practices and the mobilization of affect are central to how the narratives of progress, loss, and return persuade readers to suspend disbelief, they are also potential keys to telling the story of feminism’s past, present, and future differently.

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Terrifying Muslims highlights how transnational working classes from Pakistan are produced, constructed, and represented in the context of American empire and the recent global War on Terror. Drawing on ethnographic research that compares Pakistan, the Middle East, and the United States before and after 9/11, Junaid Rana combines cultural and material analyses to chronicle the worldviews of Pakistani labor migrants as they become part of a larger global racial system. At the same time, he explains how these migrants’ mobility and opportunities are limited by colonial, postcolonial, and new imperial structures of control and domination. He argues that the contemporary South Asian labor diaspora builds on and replicates the global racial system consolidated during the period of colonial indenture. Rana maintains that a negative moral judgment attaches to migrants who enter the global labor pool through the informal economy. This taint of the illicit intensifies the post-9/11 Islamophobia that collapses varied religions, nationalities, and ethnicities into the threatening racial figure of “the Muslim.” It is in this context that the racialized Muslim is controlled by a process that beckons workers to enter the global economy, and stipulates when, where, and how laborers can migrate. The demonization of Muslim migrants in times of crisis, such as the War on Terror, is then used to justify arbitrary policing, deportation, and criminalization.

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When it first appeared in 1964, Stuart Hall and Paddy Whannel's The Popular Arts opened up an almost unprecedented field of analysis and inquiry into contemporary popular culture. Counter to the prevailing views of the time, Hall and Whannel recognized popular culture's social importance and considered it worthy of serious study. In their analysis of everything from Westerns and the novels of Mickey Spillane, Ian Fleming, and Raymond Chandler to jazz, advertising, and the television industry, they were guided by the belief that studying popular culture demanded an ethical evaluation of the text and full attention to its properties. In so doing, they raised questions about the relation of culture to society and the politics of taste and judgment in ways that continue to shape cultural studies. Long out of print, this landmark text highlights the development of Hall's theoretical and methodological approach while adding a greater understanding of his work. This edition also includes a new introduction by Richard Dyer, who contextualizes The Popular Arts within the history of cultural studies and outlines its impact and enduring legacy.

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In the past two decades, scholars have transformed our understanding of the interactions between India and the West since the consolidation of British power on the subcontinent around 1800. While acknowledging the merits of this scholarship, Sheldon Pollock argues that knowing how colonialism changed South Asian cultures, particularly how Western modes of thought became dominant, requires knowing what was there to be changed. Yet little is known about the history of knowledge and imagination in late precolonial South Asia, about what systematic forms of thought existed, how they worked, or who produced them. This pioneering collection of essays helps to rectify this situation by addressing the ways thinkers in India and Tibet responded to a rapidly changing world in the three centuries prior to 1800. Contributors examine new forms of communication and conceptions of power that developed across the subcontinent; changing modes of literary consciousness, practices, and institutions in north India; unprecedented engagements in comparative religion, autobiography, and ethnography in the Indo-Persian sphere; and new directions in disciplinarity, medicine, and geography in Tibet. Taken together, the essays in Forms of Knowledge in Early Modern Asia inaugurate the exploration of a particularly complex intellectual terrain, while gesturing toward distinctive forms of non-Western modernity.Contributors. Muzaffar Alam, Imre Bangha, Aditya Behl, Allison Busch, Sumit Guha, Janet Gyatso, Matthew T. Kapstein, Françoise Mallison, Sheldon Pollock, Velcheru Narayana Rao, Kurtis R. Schaeffer, Sunil Sharma, David Shulman, Sanjay Subrahmanyam, Mohamad Tavakoli-Targhi

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A landmark work on human migration around the globe, Cultures in Contact provides a history of the world told through the movements of its people. It is a broad, pioneering interpretation of the scope, patterns, and consequences of human migrations over the past ten centuries. In this magnum opus thirty years in the making, Dirk Hoerder reconceptualizes the history of migration and immigration, establishing that societal transformation cannot be understood without taking into account the impact of migrations and, indeed, that mobility is more characteristic of human behavior than is stasis. Signaling a major paradigm shift, Cultures in Contact creates an English-language map of human movement that is not Atlantic Ocean-based. Hoerder describes the origins, causes, and extent of migrations around the globe and analyzes the cultural interactions they have triggered. He pays particular attention to the consequences of immigration within the receiving countries. His work sweeps from the eleventh century forward through the end of the twentieth, when migration patterns shifted to include transpacific migration, return migrations from former colonies, refugee migrations, and distinct regional labor migrations in the developing world. Hoerder demonstrates that as we enter the third millennium, regional and intercontinental migration patterns no longer resemble those of previous centuries. They have been transformed by new communications systems and other forces of globalization and transnationalism.

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Hamid Naficy is one of the world’s leading authorities on Iranian film, and A Social History of Iranian Cinema is his magnum opus. Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, it explains Iran’s peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran. This comprehensive social history unfolds across four volumes, each of which can be appreciated on its own. In Volume 3, Naficy assesses the profound effects of the Islamic Revolution on Iran's cinema and film industry. Throughout the book, he uses the term Islamicate, rather than Islamic, to indicate that the values of the postrevolutionary state, culture, and cinema were informed not only by Islam but also by Persian traditions. Naficy examines documentary films made to record events prior to, during, and in the immediate aftermath of the revolution. He describes how certain institutions and individuals, including prerevolutionary cinema and filmmakers, were associated with the Pahlavi regime, the West, and modernity and therefore perceived as corrupt and immoral. Many of the nation's moviehouses were burned down. Prerevolutionary films were subject to strict review and often banned, to be replaced with films commensurate with Islamicate values. Filmmakers and entertainers were thrown out of the industry, exiled, imprisoned, and even executed. Yet, out of this revolutionary turmoil, an extraordinary Islamicate cinema and film culture emerged. Naficy traces its development and explains how Iran's long war with Iraq, the gendered segregation of space, and the imposition of the veil on women encouraged certain ideological and aesthetic trends in film and related media. Finally, he discusses the structural, administrative, and regulatory measures that helped to institutionalize the new evolving cinema.A Social History of Iranian CinemaVolume 1: The Artisanal Era, 1897–1941Volume 2: The Industrializing Years, 1941–1978Volume 3: The Islamicate Period, 1978–1984Volume 4: The Globalizing Era, 1984–2010

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Julia Child’s TV show, The French Chef, was extraordinarily popular during its broadcast from 1963 until 1973. Child became a cultural icon in the 1960s, and, in the years since, she and her show have remained enduring influences on American cooking, American television, and American culture. In this concise book, Dana Polan considers what made Child’s program such a success. It was not the first televised cooking show, but it did define and popularize the genre. Polan examines the development of the show, its day-to-day production, and its critical and fan reception. He argues that The French Chef changed the conventions of television’s culinary culture by rendering personality indispensable. Child was energetic and enthusiastic, and her cooking lessons were never just about food preparation, although she was an effective and unpretentious instructor. They were also about social mobility, the discovery of foreign culture, and a personal enjoyment and fulfillment that promised to transcend domestic drudgery. Polan situates Julia Child and The French Chef in their historical and cultural moment, while never losing sight of Child’s unique personality and captivating on-air presence.

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In the wake of African decolonization, Brazil attempted to forge connections with newly independent countries. In the early 1960s it launched an effort to establish diplomatic ties with Africa; in the 1970s it undertook trade campaigns to open African markets to Brazilian technology. Hotel Trópico reveals the perceptions, particularly regarding race, of the diplomats and intellectuals who traveled to Africa on Brazil’s behalf. Jerry Dávila analyzes how their actions were shaped by ideas of Brazil as an emerging world power, ready to expand its sphere of influence; of Africa as the natural place to assert that influence, given its historical slave-trade ties to Brazil; and of twentieth-century Brazil as a “racial democracy,” a uniquely harmonious mix of races and cultures. While the experiences of Brazilian policymakers and diplomats in Africa reflected the logic of racial democracy, they also exposed ruptures in this interpretation of Brazilian identity. Did Brazil share a “lusotropical” identity with Portugal and its African colonies, so that it was bound to support Portuguese colonialism at the expense of Brazil’s ties with African nations? Or was Brazil a country of “Africans of every color,” compelled to support decolonization in its role as a natural leader in the South Atlantic? Drawing on interviews with retired Brazilian diplomats and intellectuals, Dávila shows the Brazilian belief in racial democracy to be about not only race but also Portuguese ethnicity.

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In this collection of essays, leading cultural theorists consider the meaning and implications of world-scale humanist scholarship by engaging with Immanuel Wallerstein’s world-systems analysis. The renowned sociologist developed his influential critical framework to explain the historical and continuing exploitation of the rest of the world by the West. World-systems analysis reflects Wallerstein’s conviction that understanding global inequality requires thinking on a global scale. Humanists have often criticized his theory as insufficiently attentive to values and objects of knowledge such as culture, agency, difference, subjectivity, and the local. The editors of this collection do not deny the validity of those criticisms; instead, they offer Wallerstein’s world-systems analysis as a well-developed vision of the world scale for humanists to think with and against. Scholars of comparative literature, gender, geography, history, law, race, and sociology consider what thinking on the world scale might mean for particular disciplinary practices, knowledge formations, and objects of study. Several essays offer broader reflections on what is at stake for the study of culture in decisions to adopt or reject world-scale thinking. In a brief essay, Immanuel Wallerstein situates world-systems analysis vis-à-vis the humanities.Contributors. Gopal Balakrishnan, Tani E. Barlow, Neil Brenner, Richard E. Lee, Franco Moretti, David Palumbo-Liu, Bruce Robbins, Helen Stacy, Nirvana Tanoukhi, Immanuel Wallerstein, Kären Wigen

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Lawrence Grossberg is one of the leading figures in cultural studies internationally. In Cultural Studies in the Future Tense, he offers a powerful critique of the present state of cultural studies and, more broadly, of the intellectual left, especially in the Anglo-American academy. He develops a vision for the future of cultural studies as conjunctural analysis, a radically contingent and contextual study of the articulations of lived, discursive, and material contexts. Proposing a compelling analysis of the contemporary political problem space as a struggle over modernity, he suggests the possibility of multiple ways of being modern as an analytic and imaginative frame. He elaborates an ontology of the modern as the potentialities of multiple configurations of temporalities and spatialities, differences, territorialities, and powers, and argues that euro-modernity is a specific geohistorical realization of this complex diagram. Challenging the euro-modern fragmentation of the social formation, he discusses the rigorous conceptual and empirical work that cultural studies must do—including rethinking fundamental concepts such as economy, culture, and politics as well as modernity—to reinvent itself as an effective political intellectual project. This book offers a vision of a contemporary cultural studies that embraces complexity, rigorous interdisciplinary practice and experimental collaborations in an effort to better explain the present in the service of the imagination of other futures and the struggles for social transformation.

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In So Much Wasted, Patrick Anderson analyzes self-starvation as a significant mode of staging political arguments across the institutional domains of the clinic, the gallery, and the prison. Homing in on those who starve themselves for various reasons and the cultural and political contexts in which they do so, he examines the diagnostic history of anorexia nervosa, fasts staged by artists including Ana Mendieta and Marina Abramović, and a hunger strike initiated by Turkish prisoners. Anderson explores what it means for the clinic, the gallery, and the prison when one performs a refusal to consume as a strategy of negation or resistance, and the ways that self-starvation, as a project of refusal aimed, however unconsciously, toward death, produces violence, suffering, disappearance, and loss differently from other practices. Drawing on the work of Martin Heidegger, Sigmund Freud, Giorgio Agamben, Peggy Phelan, and others, he considers how the subject of self-starvation is refigured in relation to larger institutional and ideological drives, including those of the state. The ontological significance of performance as disappearance constitutes what Anderson calls the “politics of morbidity,” the embodied, interventional embrace of mortality and disappearance not as destructive, but rather as radically productive stagings of subject formations in which subjectivity and objecthood, presence and absence, and life and death are intertwined.

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On the Modern Cult of the Factish Gods continues the project that the influential anthropologist, philosopher, and science studies theorist Bruno Latour advanced in his book We Have Never Been Modern. There he redescribed the Enlightenment idea of universal scientific truth, arguing that there are no facts separable from their fabrication. In this concise work, Latour delves into the “belief in naive belief,” the suggestion that fetishes—objects invested with mythical powers—are fabricated and that facts are not. Mobilizing his work in the anthropology of science, he uses the notion of “factishes” to explore a way of respecting the objectivity of facts and the power of fetishes without forgetting that both are fabricated. While the fetish-worshipper knows perfectly well that fetishes are man-made, the Modern icon-breaker inevitably erects new icons. Yet Moderns sense no contradiction at the core of their work. Latour pursues his critique of critique, or the possibility of mediating between subject and object, or the fabricated and the real, through the notion of “iconoclash,” making productive comparisons between scientific practice and the worship of visual images and religious icons.

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Scientists, activists, state officials, NGOs, and others increasingly claim to speak and act on behalf of “humanity.” The remarkable array of circumstances in which humanity is invoked testifies to the category’s universal purchase. Yet what exactly does it mean to govern, fight, and care in the name of humanity? In this timely collection, leading anthropologists and cultural critics grapple with that question, examining configurations of humanity in relation to biotechnologies, the natural environment, and humanitarianism and human rights. From the global pharmaceutical industry, to forest conservation, to international criminal tribunals, the domains they analyze highlight the diversity of spaces and scales at which humanity is articulated. The editors argue that ideas about humanity find concrete expression in the governing work that operationalizes those ideas to produce order, prosperity, and security. As a site of governance, humanity appears as both an object of care and a source of anxiety. Assertions that humanity is being threatened, whether by environmental catastrophe or political upheaval, provide a justification for the elaboration of new governing techniques. At the same time, humanity itself is identified as a threat (to nature, to nation, to global peace) which governance must contain. These apparently contradictory understandings of the relation of threat to the category of humanity coexist and remain in tension, helping to maintain the dynamic co-production of governance and humanity.Contributors. Arun Agrawal, Joao Biehl , Didier Fassin, Allen Feldman, Ilana Feldman, Rebecca Hardin, S. Lochann Jain, Liisa Malkki, Adriana Petryna, Miriam Ticktin, Richard Ashby Wilson, Charles Zerner

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The Problem of the Future World is a compelling reassessment of the later writings of the iconic African American activist and intellectual W. E. B. Du Bois. As Eric Porter points out, despite the outpouring of scholarship devoted to Du Bois, the broad range of writing he produced during the 1940s and early 1950s has not been thoroughly examined in its historical context, nor has sufficient attention been paid to the theoretical interventions he made during those years. Porter locates Du Bois’s later work in relation to what he calls “the first postracial moment.” He suggests that Du Bois’s midcentury writings are so distinctive and so relevant for contemporary scholarship because they were attuned to the shape-shifting character of modern racism, and in particular to the ways that discredited racial taxonomies remained embedded and in force in existing political-economic arrangements at both the local and global levels. Porter moves the conversation about Du Bois and race forward by building on existing work about the theorist, systematically examining his later writings, and looking at them from new perspectives, partly by drawing on recent scholarship on race, neoliberalism, and empire. The Problem of the Future World shows how Du Bois’s later writings help to address race and racism as protean, global phenomena in the present.

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Year after year a woman sits in her bare living quarters with her bags packed. She is waiting for a phone call from her snakehead, or human smuggler. That longed-for call will send her out her door, away from Fuzhou, China, on a perilous, illicit journey to the United States. Nothing diffuses the promise of an overseas destiny: neither the ever-increasing smuggling fee for successful travel nor her knowledge of the deadly risks in transit and the exploitative labor conditions abroad. The sense of imminent departure enchants her every move and overshadows the banalities of her present life. In this engrossing ethnographic account of how the Fuzhounese translate their desires for mobility into projects worth pursuing, Julie Y. Chu focuses on Fuzhounese efforts to recast their social horizons beyond the limitations of “peasant life” in China. Transcending utilitarian questions of risks and rewards, she considers the overflow of aspirations in the Fuzhounese pursuit of transnational destinations. Chu attends not just to the migration of bodies, but also to flows of shipping containers, planes, luggage, immigration papers, money, food, prayers, and gods. By analyzing the intersections and disjunctures of these various flows, she explains how mobility operates as a sign embodied through everyday encounters and in the transactions of persons and things.

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African Rhythms is the autobiography of the important jazz pianist, composer and band leader Randy Weston. He tells of his childhood in Brooklyn, his six decades long musical career, his time living in Morocco, and his lifelong quest to learn about the musical and cultural traditions of Africa.

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Throughout this lively and concise historical account of Mao Zedong’s life and thought, Rebecca E. Karl places the revolutionary leader’s personal experiences, social visions and theory, military strategies, and developmental and foreign policies in a dynamic narrative of the Chinese revolution. She situates Mao and the revolution in a global setting informed by imperialism, decolonization, and third worldism, and discusses worldwide trends in politics, the economy, military power, and territorial sovereignty. Karl begins with Mao’s early life in a small village in Hunan province, documenting his relationships with his parents, passion for education, and political awakening during the fall of the Qing dynasty in late 1911. She traces his transition from liberal to Communist over the course of the next decade, his early critiques of the subjugation of women, and the gathering force of the May 4th movement for reform and radical change. Describing Mao’s rise to power, she delves into the dynamics of Communist organizing in an overwhelmingly agrarian society, and Mao’s confrontations with Chiang Kaishek and other nationalist conservatives. She also considers his marriages and romantic liaisons and their relation to Mao as the revolutionary founder of Communism in China. After analyzing Mao’s stormy tenure as chairman of the People’s Republic of China, Karl concludes by examining his legacy in China from his death in 1976 through the Beijing Olympics in 2008.

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Pretty Modern is a riveting account of Brazil’s emergence as a global leader in plastic surgery. Intrigued by a Carnaval parade that mysteriously paid homage to a Rio de Janeiro plastic surgeon, anthropologist Alexander Edmonds conducted research that took him from Ipanema socialite circles to glitzy telenovela studios to the packed waiting rooms of public hospitals offering free cosmetic surgery. The result is provocative exploration of the erotic, commercial, and intimate aspects of beauty in a nation with extremes of wealth and poverty and a reputation for natural sensuality. Drawing on conversations with maids and their elite mistresses, divorced housewives, black celebrities, and favela residents aspiring to be fashion models, Edmonds analyzes what sexual desirability means and does for women in different social positions. He argues that beauty is a distinct realm of modern experience that does not simply reflect other inequalities. It mimics the ambiguous emancipatory potential of capital, challenging traditional hierarchies while luring consumers into a sexual culture that reduces the body to the brute biological criteria of attractiveness. Illustrated with color photographs, Pretty Modern offers a fresh theoretical perspective on the significance of female beauty in consumer capitalism.

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Hamid Naficy is one of the world’s leading authorities on Iranian film, and A Social History of Iranian Cinema is his magnum opus. Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, it explains Iran’s peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran. This comprehensive social history unfolds across four volumes, each of which can be appreciated on its own.Volume 2 spans the period of Mohammad Reza Shah’s rule, from 1941 until 1978. During this time Iranian cinema flourished and became industrialized, at its height producing more than ninety films each year. The state was instrumental in building the infrastructures of the cinema and television industries, and it instituted a vast apparatus of censorship and patronage. During the Second World War the Allied powers competed to control the movies shown in Iran. In the following decades, two distinct indigenous cinemas emerged. The more popular, traditional, and commercial filmfarsi movies included tough-guy films and the “stewpot” genre of melodrama, with plots reflecting the rapid changes in Iranian society. The new-wave cinema was a smaller but more influential cinema of dissent, made mostly by foreign-trained filmmakers and modernist writers opposed to the regime. Ironically, the state both funded and censored much of the new-wave cinema, which grew bolder in its criticism as state authoritarianism consolidated. A vital documentary cinema also developed in the prerevolutionary era.A Social History of Iranian CinemaVolume 1: The Artisanal Era, 1897–1941Volume 2: The Industrializing Years, 1941–1978Volume 3: The Islamicate Period, 1978–1984Volume 4: The Globalizing Era, 1984–2010

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Rethinking the significance of films including Pillow Talk, Rear Window, and The Seven Year Itch, Pamela Robertson Wojcik examines the popularity of the “apartment plot,” her term for stories in which the apartment functions as a central narrative device. From the baby boom years into the 1970s, the apartment plot was not only key to films; it also surfaced in TV shows, Broadway plays, literature, and comic strips, from The Honeymooners and The Mary Tyler Moore Show to Subways are for Sleeping and Apartment 3-G. By identifying the apartment plot as a film genre, Wojcik reveals affinities between movies generally viewed as belonging to such distinct genres as film noir, romantic comedy, and melodrama. She analyzes the apartment plot as part of a mid-twentieth-century urban discourse, showing how it offers a vision of home centered on values of community, visibility, contact, mobility, impermanence, and porousness that contrasts with views of home as private, stable, and family-based. Wojcik suggests that the apartment plot presents a philosophy of urbanism related to the theories of Jane Jacobs and Henri Lefebvre. Urban apartments were important spaces for negotiating gender, sexuality, race, and class in mid-twentieth-century America.

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In 1964, Brazil’s democratically elected, left-wing government was ousted in a coup and replaced by a military junta. The Johnson administration quickly recognized the new government. The U.S. press and members of Congress were nearly unanimous in their support of the “revolution” and the coup leaders’ anticommunist agenda. Few Americans were aware of the human rights abuses perpetrated by Brazil’s new regime. By 1969, a small group of academics, clergy, Brazilian exiles, and political activists had begun to educate the American public about the violent repression in Brazil and mobilize opposition to the dictatorship. By 1974, most informed political activists in the United States associated the Brazilian government with its torture chambers. In We Cannot Remain Silent, James N. Green analyzes the U.S. grassroots activities against torture in Brazil, and the ways those efforts helped to create a new discourse about human-rights violations in Latin America. He explains how the campaign against Brazil’s dictatorship laid the groundwork for subsequent U.S. movements against human rights abuses in Chile, Uruguay, Argentina, and Central America.Green interviewed many of the activists who educated journalists, government officials, and the public about the abuses taking place under the Brazilian dictatorship. Drawing on those interviews and archival research from Brazil and the United States, he describes the creation of a network of activists with international connections, the documentation of systematic torture and repression, and the cultivation of Congressional allies and the press. Those efforts helped to expose the terror of the dictatorship and undermine U.S. support for the regime. Against the background of the political and social changes of the 1960s and 1970s, Green tells the story of a decentralized, international grassroots movement that effectively challenged U.S. foreign policy.

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Denounced as parasitical under Chairman Mao and devalued by the norms of traditional Chinese ethics, the city now functions as a site of individual and collective identity in China. Cities envelop the countryside, not only geographically and demographically but also in terms of cultural impact. Robin Visser illuminates the cultural dynamics of three decades of radical urban development in China. Interpreting fiction, cinema, visual art, architecture, and urban design, she analyzes how the aesthetics of the urban environment have shaped the emotions and behavior of people and cultures, and how individual and collective images of and practices in the city have produced urban aesthetics. By relating the built environment to culture, Visser situates postsocialist Chinese urban aesthetics within local and global economic and intellectual trends. In the 1980s, writers, filmmakers, and artists began to probe the contradictions in China’s urbanization policies and rhetoric. Powerful neorealist fiction, cinema, documentaries, paintings, photographs, performances, and installations contrasted forms of glittering urban renewal with the government’s inattention to a livable urban infrastructure. Narratives and images depicting the melancholy urban subject came to illustrate ethical quandaries raised by urban life. Visser relates her analysis of this art to major transformations in urban planning under global neoliberalism, to the development of cultural studies in the Chinese academy, and to ways that specific cities, particularly Beijing and Shanghai, figure in the cultural imagination. Despite the environmental and cultural destruction caused by China’s neoliberal policies, Visser argues for the emergence of a new urban self-awareness, one that offers creative resolutions for the dilemmas of urbanism through new forms of intellectual engagement in society and nascent forms of civic governance.

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Artists, writers, and filmmakers from Andy Warhol and J. G. Ballard to Alejandro González Iñárritu and Ousmane Sembène have repeatedly used representations of immobilized and crashed cars to wrestle with the conundrums of modernity. In Crash, Karen Beckman argues that representations of the crash parallel the encounter of film with other media, and that these collisions between media offer useful ways to think about alterity, politics, and desire. Examining the significance of automobile collisions in film genres including the “cinema of attractions,” slapstick comedies, and industrial-safety movies, Beckman reveals how the car crash gives visual form to fantasies and anxieties regarding speed and stasis, risk and safety, immunity and contamination, and impermeability and penetration. Her reflections on the crash as the traumatic, uncertain moment of inertia that comes in the wake of speed and confidence challenge the tendency in cinema studies to privilege movement above film’s other qualities. Ultimately, Beckman suggests that film studies is a hybrid field that cannot apprehend its object of study without acknowledging the ways that cinema’s technology binds it to capitalism’s industrial systems and other media, technologies, and disciplines.

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Artists, writers, and filmmakers from Andy Warhol and J. G. Ballard to Alejandro González Iñárritu and Ousmane Sembène have repeatedly used representations of immobilized and crashed cars to wrestle with the conundrums of modernity. In Crash, Karen Beckman argues that representations of the crash parallel the encounter of film with other media, and that these collisions between media offer useful ways to think about alterity, politics, and desire. Examining the significance of automobile collisions in film genres including the “cinema of attractions,” slapstick comedies, and industrial-safety movies, Beckman reveals how the car crash gives visual form to fantasies and anxieties regarding speed and stasis, risk and safety, immunity and contamination, and impermeability and penetration. Her reflections on the crash as the traumatic, uncertain moment of inertia that comes in the wake of speed and confidence challenge the tendency in cinema studies to privilege movement above film’s other qualities. Ultimately, Beckman suggests that film studies is a hybrid field that cannot apprehend its object of study without acknowledging the ways that cinema’s technology binds it to capitalism’s industrial systems and other media, technologies, and disciplines.

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The fourth collection of poetry from the literary and cultural critic Fred Moten, B Jenkins is named after the poet’s mother, who passed away in 2000. It is both an elegy and an inquiry into many of the themes that Moten has explored throughout his career: language, music, performance, improvisation, and the black radical aesthetic and political tradition. In Moten’s verse, the arts, scholarship, and activism intertwine. Cadences echo from his mother’s Arkansas home through African American history and avant-garde jazz riffs. Formal innovations suggest the ways that words, sounds, and music give way to one another.The first and last poems in the collection are explicitly devoted to Moten’s mother; the others relate more obliquely to her life and legacy. They invoke performers, writers, artists, and thinkers including not only James Baldwin, Roland Barthes, Frederick Douglass, Billie Holiday, Audre Lorde, Charlie Parker, and Cecil Taylor, but also contemporary scholars of race, affect, and queer theory. The book concludes with an interview conducted by Charles Henry Rowell, the editor of the journal Callaloo. Rowell elicits Moten’s thoughts on the relation of his poetry to theory, music, and African American vernacular culture.

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Emphasizing how modes of book production, promotion, and consumption shape ideas of literary value, Edward Mack examines the role of Japan’s publishing industry in defining modern Japanese literature. In the late nineteenth century and early twentieth, as cultural and economic power consolidated in Tokyo, the city’s literary and publishing elites came to dominate the dissemination and preservation of Japanese literature. As Mack explains, they conferred cultural value on particular works by creating prizes and multivolume anthologies that signaled literary merit. One such anthology, the Complete Works of Contemporary Japanese Literature (published between 1926 and 1931), provided many readers with their first experience of selected texts designated as modern Japanese literature. The low price of one yen per volume allowed the series to reach hundreds of thousands of readers. An early prize for modern Japanese literature, the annual Akutagawa Prize, first awarded in 1935, became the country’s highest-profile literary award. Mack chronicles the history of book production and consumption in Japan, showing how advances in technology, the expansion of a market for literary commodities, and the development of an extensive reading community enabled phenomena such as the Complete Works of Contemporary Japanese Literature and the Akutagawa Prize to manufacture the very concept of modern Japanese literature.

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Centering his analysis in the dynamic forces of modern East Asian history, Kuan-Hsing Chen recasts cultural studies as a politically urgent global endeavor. He argues that the intellectual and subjective work of decolonization begun across East Asia after the Second World War was stalled by the cold war. At the same time, the work of deimperialization became impossible to imagine in imperial centers such as Japan and the United States. Chen contends that it is now necessary to resume those tasks, and that decolonization, deimperialization, and an intellectual undoing of the cold war must proceed simultaneously. Combining postcolonial studies, globalization studies, and the emerging field of “Asian studies in Asia,” he insists that those on both sides of the imperial divide must assess the conduct, motives, and consequences of imperial histories. Chen is one of the most important intellectuals working in East Asia today; his writing has been influential in Taiwan, South Korea, Hong Kong, Japan, Singapore, and mainland China for the past fifteen years. As a founding member of the Inter-Asia Cultural Studies Society and its journal, he has helped to initiate change in the dynamics and intellectual orientation of the region, building a network that has facilitated inter-Asian connections. Asia as Method encapsulates Chen’s vision and activities within the increasingly “inter-referencing” East Asian intellectual community and charts necessary new directions for cultural studies.

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This collection of essays argues that any valid theory of the modern should—indeed must—reckon with the medieval. Offering a much-needed correction to theorists such as Hans Blumenberg, who in his Legitimacy of the Modern Age describes the "modern age" as a complete departure from the Middle Ages, these essays forcefully show that thinkers from Adorno to Žižek have repeatedly drawn from medieval sources to theorize modernity. To forget the medieval, or to discount its continued effect on contemporary thought, is to neglect the responsibilities of periodization. In The Legitimacy of the Middle Ages, modernists and medievalists, as well as scholars specializing in eighteenth-, nineteenth-, and twentieth-century comparative literature, offer a new history of theory and philosophy through essays on secularization and periodization, Marx’s (medieval) theory of commodity fetishism, Heidegger’s scholasticism, and Adorno’s nominalist aesthetics. One essay illustrates the workings of medieval mysticism in the writing of Freud’s most famous patient, Daniel Paul Schreber, author of Memoirs of My Nervous Illness (1903). Another looks at Michael Hardt and Antonio Negri’s Empire, a theoretical synthesis whose conscientious medievalism was the subject of much polemic in the post-9/11 era, a time in which premodernity itself was perceived as a threat to western values. The collection concludes with an afterword by Fredric Jameson, a theorist of postmodernism who has engaged with the medieval throughout his career.Contributors: Charles D. Blanton, Andrew Cole, Kathleen Davis, Michael Hardt, Bruce Holsinger, Fredric Jameson, Ethan Knapp, Erin Labbie, Jed Rasula, D. Vance Smith, Michael Uebel

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Often called the “most African” part of Brazil, the northeastern state of Bahia has the country’s largest Afro-descendant population and a black culture renowned for its vibrancy. In Mama Africa, Patricia de Santana Pinho examines the meanings of Africa in Bahian constructions of blackness. Combining insights from anthropology, sociology, and cultural studies, Pinho considers how Afro-Bahian cultural groups, known as blocos afro, conceive of Africanness, blackness, and themselves in relation to both. Mama Africa is a translated, updated, and expanded edition of an award-winning book published in Brazil in 2004. Central to the book, and to Bahian constructions of blackness, is what Pinho calls “the myth of Mama Africa,” the idea that Africa exists as a nurturing spirit inside every black person. Pinho explores how Bahian cultural production influences and is influenced by black diasporic cultures and the idealization of Africa—to the extent that Bahia draws African American tourists wanting to learn about their heritage. Analyzing the conceptions of blackness produced by the blocos afro, she describes how Africa is re-inscribed on the body through clothes, hairstyles, and jewelry; once demeaned, blackness is reclaimed as a source of beauty and pride. Turning to the body’s interior, Pinho explains that the myth of Mama Africa implies that black appearances have corresponding black essences. Musical and dance abilities are seen as naturally belonging to black people, and these traits are often believed to be transmitted by blood. Pinho argues that such essentialized ideas of blackness render black culture increasingly vulnerable to exploitation by the state and commercial interests. She contends that the myth of Mama Africa, while informing oppositional black identities, overlaps with a constraining notion of Bahianness promoted by the government and the tourist industry.

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In Un/common Cultures, Kamala Visweswaran develops an incisive critique of the idea of culture at the heart of anthropology, describing how it lends itself to culturalist assumptions. She holds that the new culturalism—the idea that cultural differences are definitive, and thus divisive—produces a view of “uncommon cultures” defined by relations of conflict rather than forms of collaboration. The essays in Un/common Cultures straddle the line between an analysis of how racism works to form the idea of “uncommon cultures” and a reaffirmation of the possibilities of “common cultures,” those that enact new forms of solidarity in seeking common cause. Such “cultures in common” or “cultures of the common” also produce new intellectual formations that demand different analytic frames for understanding their emergence. By tracking the emergence and circulation of the culture concept in American anthropology and Indian and French sociology, Visweswaran offers an alternative to strictly disciplinary histories. She uses critical race theory to locate the intersection between ethnic/diaspora studies and area studies as a generative site for addressing the formation of culturalist discourses. In so doing, she interprets the work of social scientists and intellectuals such as Elsie Clews Parsons, Alice Fletcher, Franz Boas, Louis Dumont, Claude Lévi-Strauss, Clifford Geertz, W. E. B. Du Bois, and B. R. Ambedkar.

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The neoliberal project in the West has created an increasingly polarized and impoverished world, to the point that the vast majority of its citizens require liberation from their present socioeconomic circumstances. The marxist theorist Kenneth Surin contends that innovation and change at the level of the political must occur in order to achieve this liberation, and for this endeavor marxist theory and philosophy are indispensable. In Freedom Not Yet, Surin analyzes the nature of our current global economic system, particularly with regard to the plight of less developed countries, and he discusses the possibilities of creating new political subjects necessary to establish and sustain a liberated world.Surin begins by examining the current regime of accumulation—the global domination of financial markets over traditional industrial economies—which is used as an instrument for the subordination and dependency of poorer nations. He then moves to the constitution of subjectivity, or the way humans are produced as social beings, which he casts as the key arena in which struggles against dispossession occur. Surin critically engages with the major philosophical positions that have been posed as models of liberation, including Derrida’s notion of reciprocity between a subject and its other, a reinvigorated militancy in political reorientation based on the thinking of Badiou and Zizek, the nomad politics of Deleuze and Guattari, and the politics of the multitude suggested by Hardt and Negri. Finally, Surin specifies the material conditions needed for liberation from the economic, political, and social failures of our current system. Seeking to illuminate a route to a better life for the world’s poorer populations, Surin investigates the philosophical possibilities for a marxist or neo-marxist concept of liberation from capitalist exploitation and the regimes of power that support it.

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After decades of marginalization in the secularized twentieth-century academy, moral education has enjoyed a recent resurgence in American higher education, with the establishment of more than 100 ethics centers and programs on campuses across the country. Yet the idea that the university has a civic responsibility to teach its undergraduate students ethics and morality has been met with skepticism, suspicion, and even outright rejection from both inside and outside the academy. In this collection, renowned scholars of philosophy, politics, and religion debate the role of ethics in the university, investigating whether universities should proactively cultivate morality and ethics, what teaching ethics entails, and what moral education should accomplish. The essays quickly open up to broader questions regarding the very purpose of a university education in modern society. Editors Elizabeth Kiss and J. Peter Euben survey the history of ethics in higher education, then engage with provocative recent writings by Stanley Fish in which he argues that universities should not be involved in moral education. Stanley Hauerwas responds, offering a theological perspective on the university’s purpose. Contributors look at the place of politics in moral education; suggest that increasingly diverse, multicultural student bodies are resources for the teaching of ethics; and show how the debate over civic education in public grade-schools provides valuable lessons for higher education. Others reflect on the virtues and character traits that a moral education should foster in students—such as honesty, tolerance, and integrity—and the ways that ethical training formally and informally happens on campuses today, from the classroom to the basketball court. Debating Moral Education is a critical contribution to the ongoing discussion of the role and evolution of ethics education in the modern liberal arts university.Contributors. Lawrence Blum, Romand Coles, J. Peter Euben, Stanley Fish, Michael Allen Gillespie, Ruth W. Grant, Stanley Hauerwas, David A. Hoekema, Elizabeth Kiss, Patchen Markell, Susan Jane McWilliams, Wilson Carey McWilliams, J. Donald Moon, James Bernard Murphy, Noah Pickus, Julie A. Reuben, George Shulman, Elizabeth V. Spelman

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A young couple poses before a painted backdrop depicting a modern building set in a volcanic landscape; a college student grabs his camera as he heads to a political demonstration; a man poses stiffly for his identity photograph; amateur photographers look for picturesque images in a rural village; an old woman leafs through a family album. In Refracted Visions, Karen Strassler argues that popular photographic practices such as these have played a crucial role in the making of modern national subjects in postcolonial Java. Contending that photographic genres cultivate distinctive ways of seeing and positioning oneself and others within the affective, ideological, and temporal location of Indonesia, she examines genres ranging from state identification photos to pictures documenting family rituals.Oriented to projects of selfhood, memory, and social affiliation, popular photographs recast national iconographies in an intimate register. They convey the longings of Indonesian national modernity: nostalgia for rural idylls and “tradition,” desires for the trappings of modernity and affluence, dreams of historical agency, and hopes for political authenticity. Yet photography also brings people into contact with ideas and images that transcend and at times undermine a strictly national frame. Photography’s primary practitioners in the postcolonial era have been Chinese Indonesians. Acting as cultural brokers who translate global and colonial imageries into national idioms, these members of a transnational minority have helped shape the visual contours of Indonesian belonging even as their own place within the nation remains tenuous. Refracted Visions illuminates the ways that everyday photographic practices generate visual habits that in turn give rise to political subjects and communities.

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The Afro-Latin@ Reader focuses attention on a large, vibrant, yet oddly invisible community in the United States: people of African descent from Latin America and the Caribbean. The presence of Afro-Latin@s in the United States (and throughout the Americas) belies the notion that Blacks and Latin@s are two distinct categories or cultures. Afro-Latin@s are uniquely situated to bridge the widening social divide between Latin@s and African Americans; at the same time, their experiences reveal pervasive racism among Latin@s and ethnocentrism among African Americans. Offering insight into Afro-Latin@ life and new ways to understand culture, ethnicity, nation, identity, and antiracist politics, The Afro-Latin@ Reader presents a kaleidoscopic view of Black Latin@s in the United States. It addresses history, music, gender, class, and media representations in more than sixty selections, including scholarly essays, memoirs, newspaper and magazine articles, poetry, short stories, and interviews.While the selections cover centuries of Afro-Latin@ history, since the arrival of Spanish-speaking Africans in North America in the mid-sixteenth-century, most of them focus on the past fifty years. The central question of how Afro-Latin@s relate to and experience U.S. and Latin American racial ideologies is engaged throughout, in first-person accounts of growing up Afro-Latin@, a classic essay by a leader of the Young Lords, and analyses of U.S. census data on race and ethnicity, as well as in pieces on gender and sexuality, major-league baseball, and religion. The contributions that Afro-Latin@s have made to U.S. culture are highlighted in essays on the illustrious Afro-Puerto Rican bibliophile Arturo Alfonso Schomburg and music and dance genres from salsa to mambo, and from boogaloo to hip hop. Taken together, these and many more selections help to bring Afro-Latin@s in the United States into critical view.Contributors: Afro–Puerto Rican Testimonies Project, Josefina Baéz, Ejima Baker, Luis Barrios, Eduardo Bonilla-Silva, Adrian Burgos Jr., Ginetta E. B. Candelario, Adrián Castro, Jesús Colón, Marta I. Cruz-Janzen, William A. Darity Jr., Milca Esdaille, Sandra María Esteves, María Teresa Fernández (Mariposa), Carlos Flores, Juan Flores, Jack D. Forbes, David F. Garcia, Ruth Glasser, Virginia Meecham Gould, Susan D. Greenbaum, Evelio Grillo, Pablo “Yoruba” Guzmán, Gabriel Haslip-Viera, Tanya K. Hernández, Victor Hernández Cruz, Jesse Hoffnung-Garskof, Lisa Hoppenjans, Vielka Cecilia Hoy, Alan J. Hughes, María Rosario Jackson, James Jennings, Miriam Jiménez Román, Angela Jorge, David Lamb, Aida Lambert, Ana M. Lara, Evelyne Laurent-Perrault, Tato Laviera, John Logan, Antonio López, Felipe Luciano, Louis Pancho McFarland, Ryan Mann-Hamilton, Wayne Marshall, Marianela Medrano, Nancy Raquel Mirabal, Yvette Modestin, Ed Morales, Jairo Moreno, Marta Moreno Vega, Willie Perdomo, Graciela Pérez Gutiérrez, Sofia Quintero, Ted Richardson, Louis Reyes Rivera, Pedro R. Rivera , Raquel Z. Rivera, Yeidy Rivero, Mark Q. Sawyer, Piri Thomas, Silvio Torres-Saillant, Nilaja Sun, Sherezada “Chiqui” Vicioso, Peter H. Wood

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Over the past decade, immigration and globalization have significantly altered Europe’s cultural and ethnic landscape, foregrounding questions of national belonging. In Blood and Culture, Cynthia Miller-Idriss provides a rich ethnographic analysis of how patterns of national identity are constructed and transformed across generations. Drawing on research she conducted at German vocational schools between 1999 and 2004, Miller-Idriss examines how the working-class students and their middle-class, college-educated teachers wrestle with their different views about citizenship and national pride. The cultural and demographic trends in Germany are broadly indicative of those underway throughout Europe, yet the country’s role in the Second World War and the Holocaust makes national identity, and particularly national pride, a difficult issue for Germans. Because the vocational-school teachers are mostly members of a generation that came of age in the 1960s and 1970s and hold their parents’ generation responsible for National Socialism, many see national pride as symptomatic of fascist thinking. Their students, on the other hand, want to take pride in being German.Miller-Idriss describes a new understanding of national belonging emerging among young Germans—one in which cultural assimilation takes precedence over blood or ethnic heritage. Moreover, she argues that teachers’ well-intentioned, state-sanctioned efforts to counter nationalist pride often create a backlash, making radical right-wing groups more appealing to their students. Miller-Idriss argues that the state’s efforts to shape national identity are always tempered and potentially transformed as each generation reacts to the official conception of what the nation “ought” to be.

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Ordinary Genomes is an ethnography of genomics, a global scientific enterprise, as it is understood and practiced in the Netherlands. Karen-Sue Taussig’s analysis of the Dutch case illustrates how scientific knowledge and culture are entwined: Genetics may transform society, but society also transforms genetics. Taussig traces the experiences of Dutch people as they encounter genetics in research labs, clinics, the media, and everyday life. Through vivid descriptions of specific diagnostic processes, she illuminates the open and evolving nature of genetic categories, the ways that abnormal genetic diagnoses are normalized, and the ways that race, ethnicity, gender, and religion inform diagnoses. Taussig contends that in the Netherlands ideas about genetics are shaped by the desire for ordinariness and the commitment to tolerance, two highly-valued yet sometimes contradictory Dutch social ideals, as well as by Dutch history and concerns about immigration and European unification. She argues that the Dutch enable a social ideal of tolerance by demarcating and containing difference so as to minimize its social threat. It is within this particular construction of tolerance that the Dutch manage the meaning of genetic difference.

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For more than fifteen years, Mario Blaser has been involved with the Yshiro people of the Paraguayan Chaco as they have sought to maintain their world in the face of conservation and development programs promoted by the state and various nongovernmental organizations. In this ethnography of the encounter between modernizing visions of development, the place-based “life projects” of the Yshiro, and the agendas of scholars and activists, Blaser argues for an understanding of the political mobilization of the Yshiro and other indigenous peoples as part of a struggle to make the global age hospitable to a “pluriverse” containing multiple worlds or realities. As he explains, most knowledge about the Yshiro produced by non-indigenous “experts” has been based on modern Cartesian dualisms separating subject and object, mind and body, and nature and culture. Such thinking differs profoundly from the relational ontology enacted by the Yshiro and other indigenous peoples. Attentive to people’s unique experiences of place and self, the Yshiro reject universal knowledge claims, unlike Western modernity, which assumes the existence of a universal reality and refuses the existence of other ontologies or realities. In Storytelling Globalization from the Chaco and Beyond, Blaser engages in storytelling as a knowledge practice grounded in a relational ontology and attuned to the ongoing struggle for a pluriversal globality.

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An outpouring of memorial tributes and public expressions of grief followed the death of the Tejana recording artist Selena Quintanilla Pérez in 1995. The Latina superstar was remembered and mourned in documentaries, magazines, websites, monuments, biographies, murals, look-alike contests, musicals, drag shows, and more. Deborah Paredez explores the significance and broader meanings of this posthumous celebration of Selena, which she labels “Selenidad.” She considers the performer’s career and emergence as an icon within the political and cultural transformations in the United States during the 1990s, a decade that witnessed a “Latin explosion” in culture and commerce alongside a resurgence of anti-immigrant discourse and policy.Paredez argues that Selena’s death galvanized Latina/o efforts to publicly mourn collective tragedies (such as the murders of young women along the U.S.-Mexico border) and to envision a brighter future. At the same time, reactions to the star’s death catalyzed political jockeying for the Latino vote and corporate attempts to corner the Latino market. Foregrounding the role of performance in the politics of remembering, Paredez unravels the cultural, political, and economic dynamics at work in specific commemorations of Selena. She analyzes Selena’s final concert, the controversy surrounding the memorial erected in the star’s hometown of Corpus Christi, and the political climate that served as the backdrop to the touring musicals Selena Forever and Selena: A Musical Celebration of Life. Paredez considers what “becoming” Selena meant to the young Latinas who auditioned for the biopic Selena, released in 1997, and she surveys a range of Latina/o queer engagements with Selena, including Latina lesbian readings of the star’s death scene and queer Selena drag. Selenidad is a provocative exploration of how commemorations of Selena reflected and changed Latinidad.

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Under modernity, time is regarded as linear and measurable by clocks and calendars. Despite the historicity of clock-time itself, the modern concept of time is considered universal and culturally neutral. What Walter Benjamin called “homogeneous, empty time” founds the modern notions of progress and a uniform global present in which the past and other forms of time consciousness are seen as superseded. In Translating Time, Bliss Cua Lim argues that fantastic cinema depicts the coexistence of other modes of being alongside and within the modern present, disclosing multiple “immiscible temporalities” that strain against the modern concept of homogeneous time. In this wide-ranging study—encompassing Asian American video (On Cannibalism), ghost films from the New Cinema movements of Hong Kong and the Philippines (Rouge, Itim, Haplos), Hollywood remakes of Asian horror films (Ju-on, The Grudge, A Tale of Two Sisters) and a Filipino horror film cycle on monstrous viscera suckers (Aswang)—Lim conceptualizes the fantastic as a form of temporal translation. The fantastic translates supernatural agency in secular terms while also exposing an untranslatable remainder, thereby undermining the fantasy of a singular national time and emphasizing shifting temporalities of transnational reception.Lim interweaves scholarship on visuality with postcolonial historiography. She draws on Henri Bergson’s understanding of cinema as both implicated in homogeneous time and central to its critique, as well as on postcolonial thought linking the ideology of progress to imperialist expansion. At stake in this project are more ethical forms of understanding time that refuse to domesticate difference as anachronism. While supernaturalism is often disparaged as a vestige of primitive or superstitious thought, Lim suggests an alternative interpretation of the fantastic as a mode of resistance to the ascendancy of homogeneous time and a starting-point for more ethical temporal imaginings.

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Published in cooperation with the William P. Clements Center for Southwest Studies, Southern Methodist University.In Land of Necessity, historians and anthropologists unravel the interplay of the national and transnational and of scarcity and abundance in the region split by the 1,969-mile boundary line dividing Mexico and the United States. This richly illustrated volume, with more than 100 images including maps, photographs, and advertisements, explores the convergence of broad demographic, economic, political, cultural, and transnational developments resulting in various forms of consumer culture in the borderlands. Though its importance is uncontestable, the role of necessity in consumer culture has rarely been explored. Indeed, it has been argued that where necessity reigns, consumer culture is anemic. This volume demonstrates otherwise. In doing so, it sheds new light on the history of the U.S.-Mexico borderlands, while also opening up similar terrain for scholarly inquiry into consumer culture.The volume opens with two chapters that detail the historical trajectories of consumer culture and the borderlands. In the subsequent chapters, contributors take up subjects including smuggling, tourist districts and resorts, purchasing power, and living standards. Others address home décor, housing, urban development, and commercial real estate, while still others consider the circulation of cinematic images, contraband, used cars, and clothing. Several contributors discuss the movement of people across borders, within cities, and in retail spaces. In the two afterwords, scholars reflect on the U.S.-Mexico borderlands as a particular site of trade in labor, land, leisure, and commodities, while also musing about consumer culture as a place of complex political and economic negotiations. Through its focus on the borderlands, this volume provides valuable insight into the historical and contemporary aspects of the big “isms” shaping modern life: capitalism, nationalism, transnationalism, globalism, and, without a doubt, consumerism.Contributors. Josef Barton, Peter S. Cahn, Howard Campbell, Lawrence Culver, Amy S. Greenberg, Josiah McC. Heyman, Sarah Hill, Alexis McCrossen, Robert Perez, Laura Isabel Serna, Rachel St. John, Mauricio Tenorio-Trillo, Evan R. Ward

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Images of ruins may represent the raw realities created by bombs, natural disasters, or factory closings, but the way we see and understand ruins is not raw or unmediated. Rather, looking at ruins, writing about them, and representing them are acts framed by a long tradition. This unique interdisciplinary collection traces discourses about and representations of ruins from a richly contextualized perspective. In the introduction, Julia Hell and Andreas Schönle discuss how European modernity emerged partly through a confrontation with the ruins of the premodern past.Several contributors discuss ideas about ruins developed by philosophers such as Immanuel Kant, Georg Simmel, and Walter Benjamin. One contributor examines how W. G. Sebald’s novel The Rings of Saturn betrays the ruins erased or forgotten in the Hegelian philosophy of history. Another analyzes the repressed specter of being bombed out of existence that underpins post-Second World War modernist architecture, especially Le Corbusier’s plans for Paris. Still another compares the ways that formerly dominant white populations relate to urban-industrial ruins in Detroit and to colonial ruins in Namibia. Other topics include atomic ruins at a Nevada test site, the connection between the cinema and ruins, the various narratives that have accrued around the Inca ruin of Vilcashuamán, Tolstoy’s response in War and Peace to the destruction of Moscow in the fire of 1812, the Nazis’ obsession with imperial ruins, and the emergence in Mumbai of a new “kinetic city” on what some might consider the ruins of a modernist city. By focusing on the concept of ruin, this collection sheds new light on modernity and its vast ramifications and complexities.Contributors. Kerstin Barndt, Jon Beasley-Murray, Russell A. Berman, Jonathan Bolton, Svetlana Boym, Amir Eshel, Julia Hell, Daniel Herwitz, Andreas Huyssen, Rahul Mehrotra, Johannes von Moltke, Vladimir Paperny, Helen Petrovsky, Todd Presner, Helmut Puff, Alexander Regier, Eric Rentschler, Lucia Saks, Andreas Schönle, Tatiana Smoliarova, George Steinmetz, Jonathan Veitch, Gustavo Verdesio, Anthony Vidler

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This bold collection of essays demonstrates the necessity of understanding fascism in cultural terms rather than only or even primarily in terms of political structures and events. Contributors from history, literature, film, art history, and anthropology describe a culture of fascism in Japan in the decades preceding the end of the Asia-Pacific War. In so doing, they challenge past scholarship, which has generally rejected descriptions of pre-1945 Japan as fascist. The contributors explain how a fascist ideology was diffused throughout Japanese culture via literature, popular culture, film, design, and everyday discourse. Alan Tansman’s introduction places the essays in historical context and situates them in relation to previous scholarly inquiries into the existence of fascism in Japan.Several contributors examine how fascism was understood in the 1930s by, for example, influential theorists, an antifascist literary group, and leading intellectuals responding to capitalist modernization. Others explore the idea that fascism’s solution to alienation and exploitation lay in efforts to beautify work, the workplace, and everyday life. Still others analyze the realization of and limits to fascist aesthetics in film, memorial design, architecture, animal imagery, a military museum, and a national exposition. Contributors also assess both manifestations of and resistance to fascist ideology in the work of renowned authors including the Nobel-prize-winning novelist and short-story writer Kawabata Yasunari and the mystery writers Edogawa Ranpo and Hamao Shirō. In the work of these final two, the tropes of sexual perversity and paranoia open a new perspective on fascist culture. This volume makes Japanese fascism available as a critical point of comparison for scholars of fascism worldwide. The concluding essay models such work by comparing Spanish and Japanese fascisms.Contributors. Noriko Aso, Michael Baskett, Kim Brandt, Nina Cornyetz, Kevin M. Doak, James Dorsey, Aaron Gerow, Harry Harootunian, Marilyn Ivy, Angus Lockyer, Jim Reichert, Jonathan Reynolds, Ellen Schattschneider, Aaron Skabelund, Akiko Takenaka, Alan Tansman, Richard Torrance, Keith Vincent, Alejandro Yarza

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Globalization and the Post-Creole Imagination is a major intervention into discussions of Caribbean practices gathered under the rubric of “creolization.” Examining sociocultural, political, and economic transformations in the Caribbean, Michaeline A. Crichlow argues that creolization—culture-creating processes usually associated with plantation societies and with subordinate populations remaking the cultural forms of dominant groups—must be liberated from and expanded beyond plantations, and even beyond the black Atlantic, to include productions of “culture” wherever vulnerable populations live in situations of modern power inequalities, from regimes of colonialism to those of neoliberalism. Crichlow theorizes a concept of creolization that speaks to how individuals from historically marginalized groups refashion self, time, and place in multiple ways, from creating art to traveling in search of homes. Grounding her theory in the material realities of Caribbean peoples in the plantation era and the present, Crichlow contends that creolization and Creole subjectivity are constantly in flux, morphing in response to the changing conditions of modernity and creatively expressing a politics of place.Engaging with the thought of Michel Foucault, Michel Rolph-Trouillot, Achille Mbembe, Henri Lefebvre, Margaret Archer, Saskia Sassen, Pierre Bourdieu, and others, Crichlow argues for understanding creolization as a continual creative remaking of past and present moments to shape the future. She draws on sociology, philosophy, postcolonial studies, and cultural studies to illustrate how national histories are lived personally and how transnational experiences reshape individual lives and collective spaces. Critically extending Bourdieu’s idea of habitus, she describes how contemporary Caribbean subjects remake themselves in and beyond the Caribbean region, challenging, appropriating, and subverting older, localized forms of creolization. In this book, Crichlow offers a nuanced understanding of how Creole citizens of the Caribbean have negotiated modern economies of power.

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Canada is situated geographically, historically, and culturally between old empires (Great Britain and France) and a more recent one (the United States), as well as on the terrain of First Nations communities. Poised between historical and metaphorical empires and operating within the conditions of incomplete modernity and economic and cultural dependency, Canada has generated a body of cultural criticism and theory, which offers unique insights into the dynamics of both center and periphery. The reader brings together for the first time in one volume recent writing in Canadian cultural studies and work by significant Canadian cultural analysts of the postwar era.Including essays by anglophone, francophone, and First Nations writers, the reader is divided into three parts, the first of which features essays by scholars who helped set the agenda for cultural and social analysis in Canada and remain important to contemporary intellectual formations: Harold Innis, Marshall McLuhan, and Anthony Wilden in communications theory; Northrop Frye in literary studies; George Grant and Harold Innis in a left-nationalist tradition of critical political economy; Fernand Dumont and Paul-Émile Borduas in Quebecois national and political culture; and Harold Cardinal in native studies. The volume’s second section showcases work in which contemporary authors address Canada’s problematic and incomplete nationalism; race, difference, and multiculturalism; and modernity and contemporary culture. The final section includes excerpts from federal policy documents that are especially important to Canadians’ conceptions of their social, political, and cultural circumstances. The reader opens with a foreword by Fredric Jameson and concludes with an afterword in which the Quebecois scholar Yves Laberge explores the differences between English-Canadian cultural studies and the prevailing forms of cultural analysis in francophone Canada.Contributors. Ian Angus, Himani Bannerji, Jody Berland, Paul-Émile Borduas, Harold Cardinal, Maurice Charland, Stephen Crocker, Ioan Davies, Fernand Dumont, Kristina Fagan, Gail Faurschou, Len Findlay, Northrop Frye, George Grant, Rick Gruneau, Harold Innis, Fredric Jameson, Yves Laberge, Jocelyn Létourneau, Eva Mackey, Lee Maracle, Marshall McLuhan, Katharyne Mitchell, Sourayan Mookerjea, Kevin Pask, Rob Shields, Will Straw, Imre Szeman, Serra Tinic, David Whitson, Tony Wilden

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In Missing, Sunaina Marr Maira explores how young South Asian Muslim immigrants living in the United States experienced and understood national belonging (or exclusion) at a particular moment in the history of U.S. imperialism: in the years immediately following September 11, 2001. Drawing on ethnographic research in a New England high school, Maira investigates the cultural dimensions of citizenship for South Asian Muslim students and their relationship to the state in the everyday contexts of education, labor, leisure, dissent, betrayal, and loss. The narratives of the mostly working-class youth she focuses on demonstrate how cultural citizenship is produced in school, at home, at work, and in popular culture. Maira examines how young South Asian Muslims made sense of the political and historical forces shaping their lives and developed their own forms of political critique and modes of dissent, which she links both to their experiences following September 11, 2001, and to a longer history of regimes of surveillance and repression in the United States.Bringing grounded ethnographic analysis to the critique of U.S. empire, Maira teases out the ways that imperial power affects the everyday lives of young immigrants in the United States. She illuminates the paradoxes of national belonging, exclusion, alienation, and political expression facing a generation of Muslim youth coming of age at this particular moment. She also sheds new light on larger questions about civil rights, globalization, and U.S. foreign policy. Maira demonstrates that a particular subjectivity, the “imperial feeling” of the present historical moment, is linked not just to issues of war and terrorism but also to migration and work, popular culture and global media, family and belonging.

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In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government’s Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World’s Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation.Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.

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In this moving and thoughtful book, Kathleen Woodward explores the politics and poetics of the emotions, focusing on American culture since the 1960s. She argues that we are constrained in terms of gender, race, and age by our culture’s scripts for “emotional” behavior and that the accelerating impoverishment of interiority is a symptom of our increasingly media-saturated culture. She also shows how we can be empowered by stories that express our experience, revealing the value of our emotions as a crucial form of intelligence.Referring discreetly to her own experience, Woodward examines the interpenetration of social structures and subjectivity, considering how psychological emotions are social phenomena, with feminist anger, racial shame, old-age depression, and sympathy for non-human cyborgs (including robots) as key cases in point. She discusses how emerging institutional and discursive structures engender “new” affects that in turn can help us understand our changing world if we are attentive to them—the “statistical panic” produced by the risk society, with its numerical portents of disease and mortality; the rage prompted by impenetrable and bloated bureaucracies; the brutal shame experienced by those caught in the crossfire of the media; and the conservative compassion that is not an emotion at all, only an empty political slogan.The orbit of Statistical Panic is wide, drawing in feminist theory, critical phenomenology, and recent theories of the emotions. But at its heart are stories. As an antidote to the vacuous dramas of media culture, with its mock emotions and scattershot sensations, Woodward turns to the autobiographical narrative. Stories of illness—by Joan Didion, Yvonne Rainer, Paul Monette, and Alice Wexler, among others—receive special attention, with the inexhaustible emotion of grief framing the book as a whole.

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