Search results for ""Rowman Littlefield International""

The post humanist movement which currently traverses various disciplines in the arts and humanities, as well as the role that the thought of Deleuze and Guattari has had in the course of this movement, has given rise to new practices in architecture and urban theory. This interdisciplinary volume brings together architects, urban designers and planners, and asks them to reflect and report on the (built) place and the city to come in the wake of Deleuze and Guattari.

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The interdisciplinary chapters in this volume explore and engage the work of Vincent and Elinor Ostrom, along with the Bloomington School of political economy more generally.The book emphasizes the continuing relevance of the Ostroms’ work for our understanding of collective action, self-governance, and institutional diversity for interdisciplinary research in the social sciences and humanities. The wide array of topics and approaches will make the volume of interest to readers in a variety of fields, including: political science, economics, philosophy, sociology, public administration, environmental studies, and political economy.

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Theopoetics names the notion that the divine (theos) manifests itself as creative making (poiesis). Anatheism expresses the attendant claim that this making takes the form of a second creation – re-creation or creation again (ana) – where humanity and divinity collaborate in the coming of the Kingdom. The Art of Anatheism brings together philosophers, theologians, and artists to open up the question of the relationship between artistic creation and the divine. The book asks the question – how can God happen again after the death of God? It answers it by proposing an 'art of anatheism' which attends to the recreation and return of the divine through certain forms of literature, painting, liturgy, music, and performance. Engaging students, scholars, and interested readers across a wide range of disciplines – philosophy, theology, aesthetics, literary criticism, poetics – the volume includes contributions from both practising artists and professional academics. As such it brings together examples from ancient religious wisdom traditions and cutting-edge contemporary cultural practices to suggest that the sacred is often most potent and persuasive when recreating the everyday world of our secular experience.

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Large sections of democracy and its basic structures have recently been hijacked. By stealth, powerful elites have gradually gained control of the political sphere and transformed it to serve their own interests. The political systems of what appear to be established democracies in all corners of the world are showing signs of this takeover, which has led to widespread citizen disaffection and indignation. Kidnapped Democracy uses the metaphor of captivity to illustrate the differences and similarities between conventional kidnappings and the hijacking of a political system. The book’s nine chapters identify the kidnappers, the accomplices, the hostages, the victims and the negotiators before examining the effect of a peculiar Stockholm syndrome and, finally, reflecting on possible ways to secure the release of democracy.

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Austerity as Public Mood explores how politicians and the media mobilise nostalgic and socially conservative ideas of work and community in order to justify cuts to public services and create divisions between the deserving and undeserving. It examines the powerful appeal of these concepts as part of a wider public mood marked by guilt, nostalgia and resentment – particularly around the inequalities produced by global capitalism and changes to the nature of work. In doing so, the book engages with urgent questions about the contemporary political climate. Focusing on the UK, it challenges accounts of neoliberalism which frame it as primarily an individualising force and localist definitions of community as mitigating its damaging effects. Finally, it explores how resistance to austerity can challenge these tendencies by offering a politics of solidarity and hope, and a forum for experimentation with alternative forms of collectivity.

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An articulation of any kind of global understanding of belonging, or ways of cosmopolitan life, requires a constant engagement with vulnerability, especially in a world that is so deeply wounded by subjugation, colonialisms and genocides. And yet discussion of the body, affect and corporeal politics from the margins are noticeably absent from contemporary liberal and Kantian models of cosmopolitan thought. This book explores the ways in which existing narratives of cosmopolitanism are often organised around European and American discourses of human rights and universalism, which allow little room for the articulation of an affective, embodied and subaltern politics. It brings contemporary understandings of cosmopolitan solidarities into dialogue with the body, affect and the persistent spectre of colonial difference. Race, ethnicity, sexuality and gender are all extremely important to these articulations of cosmopolitan belongings, and we cannot really speak of communities without speaking of embodiment and emotion. This text envisions new ways of articulating and conceptualising ‘corporeal cosmopolitanism’ which are neither restricted to a purely postcolonial paradigm, nor subjugated by European colonialism and modernity. It challenges the understanding of liberal cosmopolitan solidarities using decolonial, and feminist performances of solidarity as radical compassion, resistance, and love.

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Two years ago, at the United Nations in New York, activists and diplomats banned nuclearweapons. This book covers the story of their collective activism—a story of courage and hope, as well as lessons learned, that will hopefully inform and inspire others working for social justice.The story of banning the bomb belongs to these diplomats, along with activists who brought alegacy of protest and vision for an alternative future to the international table. This is, ultimately, a story of resistance and of movement building. It is a story of people saying, “¡Ya basta!,” enough, to the nuclear-armed governments. But this movement did not just reject what the nuclear-armed were offering. It consciously, creatively, and collectively sought to build something new—to generate and promote ideas, arguments, and frameworks that would disrupt mainstream myths and narratives about nuclear weapons, institute new international norms and laws, and ultimately set in place key mechanisms for the abolition of the atomic bomb.I was directly involved in this work as an activist with one of the partner organizations of ICAN. I represented my organization, the Women’s International League for Peace and Freedom (WILPF), on ICAN’s International Steering Group. The steering group is the policy-making body of ICAN, a group of ten activist organizations from around the world that works with ICAN’s staff team to lead the campaign. As a genderqueer feminist peace activist, I tried to promote a feminist vision of both process and product in my work with ICAN—to bring theories and experiences of feminist and queer activists to the task of banning nuclear weapons. The nuclear weapon policy and discourse space is one that commonly reeks of toxic masculinity.

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Signs and images of Chinese martial arts increasingly circulate through global media cultures. As tropes of martial arts are not restricted to what is considered one medium, one region, or one (sub)genre, the essays in this collection are looking across and beyond these alleged borders. From 1920s wuxia cinema to the computer game cultures of the information age, they trace the continuities and transformations of martial arts and media culture across time, space, and multiple media platforms.

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“There will be a black Springbok over my dead body.”— Dr Danie Craven, President of the South African Rugby Board, 1969Just a year after the controversial D’Oliveira affair, the organised disruption of the all-white 1969/70 South African rugby and cricket tours to Britain represented a significant challenge to apartheid politics. Led by future cabinet minister Peter Hain, the ‘Stop the Seventy Tour’ campaign brought about the cancellation of both tours, presaging white South Africa’s expulsion from the Olympics and the end of apartheid sport altogether.With his brand of attention-grabbing, direct action sports protest, the 19-year-old Hain emerged as a hero to some and enemy to others. Now, reflecting on these experiences with fifty years of hindsight, Lord Hain, together with South Africa’s foremost sports historian and fellow anti-apartheid activist André Odendaal, shows how decades of relentless international and domestic campaigning for equality led to a Springbok team captained by black athlete Siya Kolisi winning the 2019 Rugby World Cup.Interspersing a wide range of examples with personal testimony, Pitch Battles explores the themes of sport, globalisation and resistance from the deep past to the present day. Published in the same year as the Stop The Tour documentary from acclaimed director Louis Myles, this compelling story of sacrifice, struggle and triumph reveals how sport should never be divorced from politics or society’s values.

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“There will be a black Springbok over my dead body.”— Dr Danie Craven, President of the South African Rugby Board, 1969Just a year after the controversial D’Oliveira affair, the organised disruption of the all-white 1969/70 South African rugby and cricket tours to Britain represented a significant challenge to apartheid politics. Led by future cabinet minister Peter Hain, the ‘Stop the Seventy Tour’ campaign brought about the cancellation of both tours, presaging white South Africa’s expulsion from the Olympics and the end of apartheid sport altogether.With his brand of attention-grabbing, direct action sports protest, the 19-year-old Hain emerged as a hero to some and enemy to others. Now, reflecting on these experiences with fifty years of hindsight, Lord Hain, together with South Africa’s foremost sports historian and fellow anti-apartheid activist André Odendaal, shows how decades of relentless international and domestic campaigning for equality led to a Springbok team captained by black athlete Siya Kolisi winning the 2019 Rugby World Cup.Interspersing a wide range of examples with personal testimony, Pitch Battles explores the themes of sport, globalisation and resistance from the deep past to the present day. Published in the same year as the Stop The Tour documentary from acclaimed director Louis Myles, this compelling story of sacrifice, struggle and triumph reveals how sport should never be divorced from politics or society’s values.

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Despite the ubiquity of automobility, the reality of automotive death is hidden from everyday view. There are accident blackspots all over the roads that we use and go past every day but the people that have died there or been injured are not marked, unless by homemade shrines and personal memorialization. Nowhere on the planet is this practice as densely actioned as in the United States.Road Scars is a highly visual scholarly monograph about how roadside car crash shrines place the collective trauma of living in a car culture in the everyday landscapes of automobility. Roadside shrines—or road trauma shrines—are vernacular memorial assemblages built by private individuals at sites where family and friends have died in automobile accidents, either while driving cars or motorcycles or being hit by cars as pedestrians, bicyclists, or motorcyclists. Prevalent for decades in Latin America and in the American Southwest, roadside car crash shrines are now present throughout the U.S. and around the world. Some are simply small white crosses, almost silent markers of places of traumatic death. Others are elaborate collections of objects, texts, and materials from all over the map culturally and physically, all significantly brought together not in the home or in a cemetery but on the roadside, in drivable public space—a space where private individuals perform private identities alongside each other in public, and where these private mobilities sometimes collide with one another in traumatic ways that are negotiated in roadside shrines. This book touches on something many of us have seen, but few have explored intellectually.

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Unraveling the Crime-Development Nexus offers the first criminological account of the relationship between international development, crime, and security in nearly thirty-five years. It historically situates and critiques the assumption that crime represents both a significant threat to economic development and a consequence of underdevelopment. The book acknowledges evidence of a heightened risk of experiencing crime and violence for residents of many ‘developing’ countries but challenges the uncritical embrace of this empirically and theoretically problematic discourse by proponents of a post-neoliberal development agenda. It is argued that many of the reforms advocated for are structurally criminogenic and that these prescriptions for economic liberalisation and securitisation fundamentally prioritise the economic interests and security needs of those who stand to profit from further incursions by neoliberal globalisation rather than the economic and security needs of local residents and communities. To confront this dynamic, the book concludes that international institutions like the United Nations Office for Drugs and Crime (UNODC) along with major international donors should shift their attention towards the structural causes of crime and embrace alternative development approaches, including those informed by feminist and post-colonial perspectives, in order to address the major drivers of crime, violence and exploitation in the global South.

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Activists use digital as well as mainstream media tools to attract supporters, advertise their campaigns, and raise awareness of issues in the broader community. Activism and Digital Culture in Australia examines the use of digital tools and culture by Australian and international activist organisations to facilitate public engagement, participation and deliberation in issues and advance social change. In particular the book engages media studies, cultural studies, social theory and various ethical and political philosophical perspectives to examine the use of digital multi-platform tools by activist organisations and advocates for social change to a) disseminate information and raise public awareness; b) invoke, inform and shape public debate through the provision of information and invocation of affect; and c) garner public support (including funding) for issues and for associated social change. Engaging both qualitative and quantitative approaches, these case studies will demonstrate the richness of digital culture for activism and advocacy, examining the use by activist organisations of such digital media tools as apps, blogging, Facebook, RSS, Twitter, and YouTube. The shows that digital culture offers productive mechanisms and spaces for the reshaping of society itself to take more of a participatory role in progressing social change.

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As its title suggests, this collections of essays by one of the foremost theorists working today takes as its theme the edge or limit between language, time, history, and politics. These are essays that are all on the brink, about the edge, the very extreme at which one can no longer say where one is located, neither on the cliff, say, nor over the edge. To be on the brink, then, is to take up that extreme limit, the point of contamination or indetermination where language, time, history, and politics all converge upon one another.The book begins with a consideration of Kant’s treatment of time as representation, before moving toward more explicitly political themes as it engages political theology and messianism in Hegel and Hölderlin. The second section explores the questionof language in a variety of manifestations—from translation to complaint and greeting—and through a number of literary and cultural forms, from the work of Mallarmé to email. The volume concludes with an interview in which Hamacher offers a revealing overview of his work, beginning with an account of his early writings and moving up to his most recent essays.

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The United States' national security depends on a secure, reliable and resilient cyberspace. The inclusion of digital systems into every aspect of US national security has been underway since World War II and has increased with the proliferation of Internet enabled devices. There is an increasing need to develop a robust deterrence framework within which the US and its allies can dissuade would be adversaries from engaging in various cyber activities. Yet despite a desire to deter adversaries, the problems associated with dissuasion remain complex, multifaceted, poorly understood and imprecisely specified. Challenges including, credibility, attribution, escalation and conflict management to name but a few remain ever present and challenge the US in its efforts to foster security in cyberspace. These challenges need to be addressed in a deliberate and multidisciplinary approach that combines political and technical realities to provide a robust set of policy options to decision makers. The Cyber Deterrence Problem brings together a multi-disciplinary team of scholars from multiple institutions with expertise in computer science, deterrence theory, cognitive psychology, intelligence studies, and conflict management to analyze and develop a robust assessment of the necessary requirements and attributes for achieving deterrence in cyberspace. Beyond simply addressing the base challenges associated with deterrence many of the chapters also propose strategies and tactics to enhance deterrence in cyberspace and emphasize conceptualizing how the US deters adversaries.

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Theopoetics names the notion that the divine (theos) manifests itself as creative making (poiesis). Anatheism expresses the attendant claim that this making takes the form of a second creation – re-creation or creation again (ana) – where humanity and divinity collaborate in the coming of the Kingdom. The Art of Anatheism brings together philosophers, theologians, and artists to open up the question of the relationship between artistic creation and the divine. The book asks the question – how can God happen again after the death of God? It answers it by proposing an 'art of anatheism' which attends to the recreation and return of the divine through certain forms of literature, painting, liturgy, music, and performance. Engaging students, scholars, and interested readers across a wide range of disciplines – philosophy, theology, aesthetics, literary criticism, poetics – the volume includes contributions from both practising artists and professional academics. As such it brings together examples from ancient religious wisdom traditions and cutting-edge contemporary cultural practices to suggest that the sacred is often most potent and persuasive when recreating the everyday world of our secular experience.

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We live in a mediatized society, a society one could call a society of images. Working at the intersection of aesthetics and politics, Patrick Vauday challenges the dominant assumptions of this society and its disposition towards images. This challenge does not advocate repudiatingimages altogether, but rather entreats us to see them in a different light. This new way of thinking of images affords a glimpse into what images do and produce, rather than viewing them as copies or mere representations. Images are dynamic agents that are active in our world rather than simply empty reflections of it. Rethinking the concept of the image in this fashion opens up new ways of interpreting and engaging with works of art. This reconsideration of the role of images in society is the starting point for a new politics that considers the multiple and complex efficacies by which images act, circulate and are created.

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We live in a mediatized society, a society one could call a society of images. Working at the intersection of aesthetics and politics, Patrick Vauday challenges the dominant assumptions of this society and its disposition towards images. This challenge does not advocate repudiatingimages altogether, but rather entreats us to see them in a different light. This new way of thinking of images affords a glimpse into what images do and produce, rather than viewing them as copies or mere representations. Images are dynamic agents that are active in our world rather than simply empty reflections of it. Rethinking the concept of the image in this fashion opens up new ways of interpreting and engaging with works of art. This reconsideration of the role of images in society is the starting point for a new politics that considers the multiple and complex efficacies by which images act, circulate and are created.

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