In The Nation Writ Small, Susan Z. Andrade focuses on the work of Africa’s first post-independence generation of novelists, explaining why male writers came to be seen as the voice of Africa’s new nation-states, and why African women writers’ commentary on national politics was overlooked. Since Africa’s early female novelists tended to write about the family, while male authors often explicitly addressed national politics, it was assumed that the women writers were uninterested in the nation and the public sphere. Challenging that notion, Andrade argues that the female authors engaged national politics through allegory. In their work, the family stands for the nation; it is the nation writ small. Interpreting fiction by women, as well as several feminist male authors, she analyzes novels by Flora Nwapa and Buchi Emecheta (Nigeria); novellas by Ousmane Sembène, Mariama Bâ, and Aminata Sow Fall (Senegal); and bildungsromans by Tsitsi Dangarembga (Zimbabwe), Nuruddin Farah (Somalia), and Assia Djebar (Algeria). Andrade reveals the influence of Africa’s early women novelists on later generations of female authors, and she highlights the moment when African women began to write about macropolitics explicitly rather than allegorically.

From the ancient Olympic games to the savage gladiatorial contests of the Roman Empire, from the thrill of the World Cup to the hype of the Super Bowl, sport represents a singular source of social belonging and communal enjoyment—sometimes as intense as religious faith. The Pleasure Principle addresses the issue of sport as a form of pleasure, contending that sport, like any form of popular culture, reveals a lot about the society in which it appears. Examining sports through various theoretical lenses, including Marxist, feminist, and poststructuralist, and from numerous disciplinary viewpoints—history, sociology, cinema studies, literature, and cultural studies—this special issue demonstrates the complexity of contemporary sports culture.

Ranging from the humorous to the ironic, from the personal to the theoretical, and from sports as dissimilar as baseball and rugby, gambling and karate, this issue explains fandom itself and explores the intersections of sport and politics, sport and class, and sport and identity. One timely essay addresses the use of Native American imagery and nicknames and the recent NCAA ban on these references. Another classifies gambling as a popular American sport, one that in 2003 attracted three times as many attendees as all Major League Baseball franchises combined. Another essay delves into the history of the golfing mecca of Pinehurst, North Carolina, discussing the resort’s roots in the age of Jim Crow. Among the other topics addressed in this issue are how soccer fandom and commodity culture can be one and the same; why Liverpool’s 2005 victory in the European Champion’s League proves that God is red; and why the Olympic Games can represent performative nationalism.

Contributors. David L. Andrews, Amy Bass, Norman K. Denzin, Grant Farred, Keya Ganguly, John Hartley, Jane Juffer, Liz Moor, Jeffrey T. Nealon, Annie Paul, George Ritzer, Jim Shepard, Orin Starn, Kenneth Surin

Edna Andrews clarifies and extends the work of Roman Jakobson to develop a theory of invariants in language by distinguishing between general and contextual meaning in morphology and semantics. Markedness theory, as Jakobson conceived it, is a qualitative theory of oppositional binary relations. Andrews shows how markedness theory enables a linguist to precisely define the systemically given oppositions and hierarchies represented by linguistic categories. In addition, she redefines the relationship between Jakobsonian markedness theory and Peircean interpretants. Though primarily theoretical, the argument is illustrated with discussions about learning a second language, the relationship of linguistics to mathematics (particularly set theory, algebra, topology, and statistics) in their mutual pursuit of invariance, and issues involving grammatical gender and their implications in several languages.

The Age of Beloveds offers a rich introduction to early modern Ottoman culture through a study of its beautiful lyric love poetry. At the same time, it suggests provocative cross-cultural parallels in the sociology and spirituality of love in Europe—from Istanbul to London—during the long sixteenth century. Walter G. Andrews and Mehmet Kalpakli provide a generous sampling of translations of Ottoman poems, many of which have never appeared in English, along with informative and inspired close readings. The authors explain that the flourishing of Ottoman power and culture during the “Turkish Renaissance” manifested itself, to some degree, as an “age of beloveds,” in which young men became the focal points for the desire and attention of powerful officeholders and artists as well as the inspiration for a rich literature of love.

The authors show that the “age of beloveds” was not just an Ottoman, eastern European, or Islamic phenomenon. It extended into western Europe as well, pervading the cultures of Venice, Florence, Rome, and London during the same period. Andrews and Kalpakli contend that in an age dominated by absolute rulers and troubled by war, cultural change, and religious upheaval, the attachments of dependent courtiers and the longings of anxious commoners aroused an intense interest in love and the beloved. The Age of Beloveds reveals new commonalities in the cultural history of two worlds long seen as radically different.

Ivo Andric (1892-1975), Nobel Prize laureate for literature in 1961, is undoubtedly the most popular of all contemporary Yugoslav writers. Over the span of fifty-two years some 267 of his works have been published in thirty-three languages. Andric’s doctoral dissertation, The Development of Spiritual Life in Bosnia under the Influence of Turkish Rule (1924), never before translated into English, sheds important light on the author’s literary writings and must be taken into account in any current critical analysis of his work.
Over his long and distinguished career as a diplomat and man of letters Andric never again so directly or discursively addressed, as a social historian, the impact of Turkish hegemony on the Bosnian people (1463–1878), a theme he returns to again and again in his novels. Although Andric’s fiction was embedded in history, scholars know very little of his actual readings in history and have no other comparable treatment of it from his own pen. This dissertation abounds with topics that Andric incorporated into his early stories and later novels, including a focus on the moral stresses and compromises within Bosnia’s four religious confessions: Catholic, Orthodox, Jew, and Muslim.
Z. B. Juricic provides an extensive introduction describing the circumstances under which this work was written and situating it in Andric’s oeuvre. John F. Loud’s original bibliography drawn from this dissertation stands as the only comprehensive inventory of historical sources known to have been closely familiar to the author at this early stage in his development.

In Neutral Accent, A. Aneesh employs India's call centers as useful sites for studying global change. The horizon of global economic shift, the consequences of global integration, and the ways in which call center work "neutralizes" racial, ethnic, and national identities become visible from the confines of their cubicles. In his interviews with call service workers and in his own work in a call center in the high tech metropolis of Gurgoan, India, Aneesh observed the difficulties these workers face in bridging cultures, laws, and economies: having to speak in an accent that does not betray their ethnicity, location, or social background; learning foreign social norms; and working graveyard shifts to accommodate international customers. Call center work is cast as independent of place, space, and time, and its neutrality—which Aneesh defines as indifference to difference—has become normal business practice in a global economy. The work of call center employees in the globally integrated marketplace comes at a cost, however, as they become disconnected from the local interactions and personal relationships that make their lives anything but neutral.

Workers in India program software applications, transcribe medical dictation online, chase credit card debtors, and sell mobile phones, diet pills, and mortgages for companies based in other countries around the world. While their skills and labor migrate abroad, these workers remain Indian citizens, living and working in India. A. Aneesh calls this phenomenon “virtual migration,” and in this groundbreaking study he examines the emerging “transnational virtual space” where labor and vast quantities of code and data cross national boundaries, but the workers themselves do not. Through an analysis of the work of computer programmers in India working for the American software industry, Aneesh argues that the programming code connecting globally dispersed workers through data servers and computer screens is the key organizing structure behind the growing phenomenon of virtual migration. This “rule of code,” he contends, is a crucial and underexplored aspect of globalization.

Aneesh draws on the sociology of science, social theory, and research on migration to illuminate the practical and theoretical ramifications of virtual migration. He combines these insights with his extensive ethnographic research in offices in three locations in India—in Delhi, Gurgaon, and Noida—and one in New Jersey. Aneesh contrasts virtual migration with “body shopping,” the more familiar practice of physically bringing programmers from other countries to work on site, in this case, bringing them from India to New Jersey. A significant contribution to the social theory of globalization, Virtual Migration maps the expanding transnational space where globalization is enacted via computer programming code.

Melodrama is not just a film or literary genre but a powerful political discourse that galvanizes national sentiment to legitimate state violence. Finding virtue in national suffering and heroism in sovereign action, melodramatic political discourses cast war and surveillance as moral imperatives for eradicating villainy and upholding freedom. In Orgies of Feeling, Elisabeth R. Anker boldly reframes political theories of sovereignty, freedom, and power by analyzing the work of melodrama and affect in contemporary politics. Arguing that melodrama animates desires for unconstrained power, Anker examines melodramatic discourses in the War on Terror, neoliberal politics, anticommunist rhetoric, Hollywood film, and post-Marxist critical theory. Building on Friedrich Nietzsche's notion of "orgies of feeling," in which overwhelming emotions displace commonplace experiences of vulnerability and powerlessness onto a dramatic story of injured freedom, Anker contends that the recent upsurge in melodrama in the United States is an indication of public discontent. Yet the discontent that melodrama reflects is ultimately an expression of the public's inability to overcome systemic exploitation and inequality rather than an alarmist response to inflated threats to the nation.
 

Now that literary critique's intellectual and political pay-off is no longer quite so self-evident, critics are vigorously debating the functions and futures of critique. The contributors to Critique and Postcritique join this conversation, evaluating critique's structural, methodological, and political potentials and limitations. Following the interventions made by Bruno Latour, Eve Kosofsky Sedgwick, Sharon Marcus and Stephen Best, and others, the contributors assess the merits of the postcritical turn while exploring a range of alternate methods and critical orientations. Among other topics, the contributors challenge the distinction between surface and deep reading; outline how critique-based theory has shaped the development of the novel; examine Donna Haraway's feminist epistemology and objectivity; advocate for a "hopeful" critical disposition; highlight the difference between reading as method and critique as genre; and question critique's efficacy at attending to the affective dimensions of experience. In these and other essays this volume outlines the state of contemporary literary criticism while pointing to new ways of conducting scholarship that are better suited to the intellectual and political challenges of the present. 

Contributors: Elizabeth S. Anker, Christopher Castiglia, Russ Castronovo, Simon During, Rita Felski, Jennifer L. Fleissner, Eric Hayot, Heather Love, John Michael, Toril Moi, Ellen Rooney, C. Namwali Serpell

The major recommendations and chapters of The Future of Moral Education can be divided into three categories: expansion of medical education's scope and responsibilities, basic conditions for progress in medical education, and medial education and the nation's health. The contributors all recognize their obligation to medical education's future as a societal endeavor to serve the nation's health needs.

William G. Anlyan, a dedicated doctor and gifted administrator, was a leader in the transformation of Duke University Hospital from a regional medical center into one of America’s foremost biomedical research and educational institutions. Anlyan’s fifty-five-year career at Duke University spanned a period of extraordinary change in the practice of medicine. He chronicles those transformations—and his role in them—in this forthright memoir.

Born in Alexandria, Egypt, in 1925, and schooled in the British tradition, Anlyan attended Yale University as an undergraduate and medical student before coming to the relatively unknown medical school at Duke University in 1949 for an internship in general and thoracic surgery. He stayed on, first as a resident, then as a staff surgeon. By 1961, he was a full professor of surgery. In 1964, Anlyan was named dean of the medical school, the first in a series of administrative posts at the medical school and hospital. Anlyan’s role in the transformation of the Duke University Medical Center into an internationally renowned health system is manifest: he restructured the medical school and hospital and supervised the addition of almost four million square feet of new or renovated space. He hired outstanding administrators and directed a staff that instituted innovative programs and groundbreaking research centers, such as the Cancer Center and the Physician’s Assistant Program.

Anlyan describes a series of metamorphoses in his own life, in the world of medicine, in Durham, and at Duke. At the time of his prep school upbringing in Egypt, medicine was a matter of controlling infectious diseases like tuberculosis and polio. As he became an immigrant medical student and then a young surgeon, he observed vast advances in medical practice and changes in the financing of medical care. During his tenure at Duke, Durham was transformed from a sleepy mill and tobacco town into the “City of Medicine,” a place where patients routinely travel for open-heart surgery and cutting-edge treatments for cancer and other diseases.

Anyone interested in health care, medical education, and the history of Duke University will find Anlyan’s memoir of interest.

For over three decades, contemporary Native American artist Hock E Aye Vi Edgar Heap of Birds has pursued a disciplined practice in multiple media, having shown his paintings, drawings, prints, and text-based conceptual art throughout numerous national and international galleries and public spaces. In the first book-length study of this important artist, Bill Anthes analyzes Heap of Birds's art and politics in relation to the international contemporary art scene, Native American history, and settler colonialism. Foregrounding how Heap of Birds roots his practice in Cheyenne spirituality and an indigenous way of seeing and being in the world, Anthes describes how Heap of Birds likens his art to "sharp rocks"—weapons delivering trenchant critiques of the loss of land, life, and autonomy endured by Native Americans. Whether appearing as interventions in public spaces or in a gallery, Heap of Birds's carefully honed artworks pose questions about time, modernity, identity, power, and the meaning and value of contemporary art in a global culture. 

 

Between 1940 and 1960, many Native American artists made bold departures from what was considered the traditional style of Indian painting. They drew on European and other non-Native American aesthetic innovations to create hybrid works that complicated notions of identity, authenticity, and tradition. This richly illustrated volume focuses on the work of these pioneering Native artists, including Pueblo painters José Lente and Jimmy Byrnes, Ojibwe painters Patrick DesJarlait and George Morrison, Cheyenne painter Dick West, and Dakota painter Oscar Howe. Bill Anthes argues for recognizing the transformative work of these Native American artists as distinctly modern, and he explains how bringing Native American modernism to the foreground rewrites the broader canon of American modernism.

In the mid-twentieth century, Native artists began to produce work that reflected the accelerating integration of Indian communities into the national mainstream as well as, in many instances, their own experiences beyond Indian reservations as soldiers or students. During this period, a dynamic exchange among Native and non-Native collectors, artists, and writers emerged. Anthes describes the roles of several anthropologists in promoting modern Native art, the treatment of Native American “Primitivism” in the writing of the Jewish American critic and painter Barnett Newman, and the painter Yeffe Kimball’s brazen appropriation of a Native identity. While much attention has been paid to the inspiration Native American culture provided to non-Native modern artists, Anthes reveals a mutual cross-cultural exchange that enriched and transformed the art of both Natives and non-Natives.

Investigating the central role that theories of the visual arts and creativity played in the development of fascism in France, Mark Antliff examines the aesthetic dimension of fascist myth-making within the history of the avant-garde. Between 1909 and 1939, a surprising array of modernists were implicated in this project, including such well-known figures as the symbolist painter Maurice Denis, the architects Le Corbusier and Auguste Perret, the sculptors Charles Despiau and Aristide Maillol, the “New Vision” photographer Germaine Krull, and the fauve Maurice Vlaminck.

Antliff considers three French fascists: Georges Valois, Philippe Lamour, and Thierry Maulnier, demonstrating how they appropriated the avant-garde aesthetics of cubism, futurism, surrealism, and the so-called Retour à l’Ordre (“Return to Order”), and, in one instance, even defined the “dynamism” of fascist ideology in terms of Soviet filmmaker Sergei Eisenstein’s theory of montage. For these fascists, modern art was the mythic harbinger of a regenerative revolution that would overthrow existing governmental institutions, inaugurate an anticapitalist new order, and awaken the creative and artistic potential of the fascist “new man.”

In formulating the nexus of fascist ideology, aesthetics, and violence, Valois, Lamour, and Maulnier drew primarily on the writings of the French political theorist Georges Sorel, whose concept of revolutionary myth proved central to fascist theories of cultural and national regeneration in France. Antliff analyzes the impact of Sorel’s theory of myth on Valois, Lamour, and Maulnier. Valois created the first fascist movement in France; Lamour, a follower of Valois, established the short-lived Parti Fasciste Révolutionnaire in 1928 before founding two fascist-oriented journals; Maulnier forged a theory of fascism under the auspices of the journals Combat and Insurgé.

Light in the Dark is the culmination of Gloria E. Anzaldúa's mature thought and the most comprehensive presentation of her philosophy. Focusing on aesthetics, ontology, epistemology, and ethics, it contains several developments in her many important theoretical contributions.

Born in the Río Grande Valley of south Texas, independent scholar and creative writer Gloria Anzaldúa was an internationally acclaimed cultural theorist. As the author of Borderlands / La Frontera: The New Mestiza, Anzaldúa played a major role in shaping contemporary Chicano/a and lesbian/queer theories and identities. As an editor of three anthologies, including the groundbreaking This Bridge Called My Back: Writings by Radical Women of Color, she played an equally vital role in developing an inclusionary, multicultural feminist movement. A versatile author, Anzaldúa published poetry, theoretical essays, short stories, autobiographical narratives, interviews, and children’s books. Her work, which has been included in more than 100 anthologies to date, has helped to transform academic fields including American, Chicano/a, composition, ethnic, literary, and women’s studies.

This reader—which provides a representative sample of the poetry, prose, fiction, and experimental autobiographical writing that Anzaldúa produced during her thirty-year career—demonstrates the breadth and philosophical depth of her work. While the reader contains much of Anzaldúa’s published writing (including several pieces now out of print), more than half the material has never before been published. This newly available work offers fresh insights into crucial aspects of Anzaldúa’s life and career, including her upbringing, education, teaching experiences, writing practice and aesthetics, lifelong health struggles, and interest in visual art, as well as her theories of disability, multiculturalism, pedagogy, and spiritual activism. The pieces are arranged chronologically; each one is preceded by a brief introduction. The collection includes a glossary of Anzaldúa’s key terms and concepts, a timeline of her life, primary and secondary bibliographies, and a detailed index.

A documentary is being filmed. A cell phone rings, playing the Rocky theme song. The filmmaker is told she must pay $10,000 to clear the rights to the song. Can this be true? Eyes on the Prize, the great civil rights documentary, was pulled from circulation because the filmmakers’ rights to music and footage had expired. What’s going on here? It’s the collision of documentary filmmaking and intellectual property law, and it’s the inspiration for this comic book. Follow its heroine Akiko as she films her documentary and navigates the twists and turns of intellectual property. Why do we have copyrights? What’s “fair use”? Bound by Law? reaches beyond documentary film to provide a commentary on the most pressing issues facing law, art, property, and an increasingly digital world of remixed culture.

Readers can download a pdf of the book here.

Since the 1970s, American society has provided especially fertile ground for the growth of the Christian right and its influence on both political and cultural discourse. In Stations of the Cross political theorist Paul Apostolidis shows how a critical component of this movement’s popular culture—evangelical conservative radio—interacts with the current U.S. political economy. By examining in particular James Dobson’s enormously influential program, Focus on the Family—its messages, politics, and effects—Apostolidis reveals the complex nature of contemporary conservative religious culture.
Public ideology and institutional tendencies clash, the author argues, in the restructuring of the welfare state, the financing of the electoral system, and the backlash against women and minorities. These frictions are nowhere more apparent than on Christian right radio. Reinvigorating the intellectual tradition of the Frankfurt School, Apostolidis shows how ideas derived from early critical theory—in particular that of Theodor W. Adorno—can illuminate the political and social dynamics of this aspect of contemporary American culture. He uses and reworks Adorno’s theories to interpret the nationally broadcast Focus on the Family, revealing how the cultural discourse of the Christian right resonates with recent structural transformations in the American political economy. Apostolidis shows that the antidote to the Christian right’s marriage of religious and market fundamentalism lies not in a reinvocation of liberal fundamentals, but rather depends on a patient cultivation of the affinities between religion’s utopian impulses and radical, democratic challenges to the present political-economic order.
Mixing critical theory with detailed analysis, Stations of the Cross provides a needed contribution to sociopolitical studies of mass movements and will attract readers in sociology, political science, philosophy, and history.

Public affairs—or sex scandals—involving prominent politicians are as revealing of American culture as they are of individual peccadillos. Implicated in their unfolding are a broad range of institutions, trends, questions, and struggles, including political parties, Hollywood, the Christian right, new communications technologies, the restructuring of corporate media, feminist and civil rights debates, and the meaning of public life in the “society of the spectacle.” The contributors to Public Affairs examine, from a variety of perspectives, how political sex scandals take shape, gain momentum, and alter the U.S. political and cultural landscape.

The essays in Public Affairs reflect on a number of sex scandals while emphasizing the Clinton/Lewinsky affair, certainly the most avidly followed and momentous sex scandal in American political history. Leading scholars situate contemporary public affairs in the context not only of earlier sex scandals in American politics (such as Thomas Jefferson’s and Sally Hemings’s affair), but also of more purely political scandals (including Teapot Dome and Watergate) and sex scandals centered around public figures other than politicians (such as the actor Hugh Grant and the minister Jimmy Swaggart). Some essays consider the Clinton affair in light of feminist and anti-racist politics, while others discuss the dynamics of scandals as major media events. By charting a critical path through the muck of scandal rather than around it, Public Affairs illuminates why sex scandals have become such a prominent feature of American public life.

Contributors. Paul Apostolidis, Jodi Dean, Joshua Gamson, Theodore J. Lowi, Joshua D. Rothman, George Shulman, Anna Marie Smith, Jeremy Varon, Juliet A. Williams

This second installment of Public Culture’s Millennial Quartet seeks to intervene in the increasingly heated debates surrounding the cultural dimensions of globalization, which includes debates about what globalization is and whether it is a meaningful term. The volume focuses in particular on the way that changing sites—local, regional, diasporic—are the scenes of emergent forms of sovereignty in which matters of style, sensibility, and ethos articulate new legalities and new kinds of violence.
Seeking an alternative to the dead-end debate between those who see globalization as a phenomenon wholly without precedent and those who see it simply as modernization, imperialism, or global capitalism with a new face, the contributors seek to illuminate how space and time are transforming each other in special ways in the present era. They examine how this complex transformation involves changes in the situation of the nation, the state, and the city. While exploring distinct regions—China, Africa, South America, Europe—and representing different disciplines and genres—anthropology, literature, political science, sociology, music, cinema, photography—the contributors are concerned with both the political economy of location and the locations in which political economies are produced and transformed. A special strength of the collection is its concern with emergent styles of subjectivity, citizenship, and mobilization and with the transformations of state power through which market rationalities are distributed and embodied locally.

Contributors. Arjun Appadurai, Jérome Bindé, Néstor García Canclini, Leo Ching, Steven Feld, Ralf D. Hotchkiss, Wu Hung, Andreas Huyssen, Boubacar Touré Mandémory, Achille Mbembe, Saskia Sassen, Fatu Kande Senghor, Seteney Shami, Anna Tsing, Zhang Zhen

The period since 1989 has been marked by the global endorsement of open markets, the free flow of finance capital and liberal ideas of constitutional rule, and the active expansion of human rights. Why, then, in this era of intense globalization, has there been a proliferation of violence, of ethnic cleansing on the one hand and extreme forms of political violence against civilian populations on the other?

Fear of Small Numbers is Arjun Appadurai’s answer to that question. A leading theorist of globalization, Appadurai turns his attention to the complex dynamics fueling large-scale, culturally motivated violence, from the genocides that racked Eastern Europe, Rwanda, and India in the early 1990s to the contemporary “war on terror.” Providing a conceptually innovative framework for understanding sources of global violence, he describes how the nation-state has grown ambivalent about minorities at the same time that minorities, because of global communication technologies and migration flows, increasingly see themselves as parts of powerful global majorities. By exacerbating the inequalities produced by globalization, the volatile, slippery relationship between majorities and minorities foments the desire to eradicate cultural difference.

Appadurai analyzes the darker side of globalization: suicide bombings; anti-Americanism; the surplus of rage manifest in televised beheadings; the clash of global ideologies; and the difficulties that flexible, cellular organizations such as Al-Qaeda present to centralized, “vertebrate” structures such as national governments. Powerful, provocative, and timely, Fear of Small Numbers is a thoughtful invitation to rethink what violence is in an age of globalization.

Edited by one of the most prominent scholars in the field and including a distinguished group of contributors, this collection of essays makes a striking intervention in the increasingly heated debates surrounding the cultural dimensions of globalization. While including discussions about what globalization is and whether it is a meaningful term, the volume focuses in particular on the way that changing sites—local, regional, diasporic—are the scenes of emergent forms of sovereignty in which matters of style, sensibility, and ethos articulate new legalities and new kinds of violence.
Seeking an alternative to the dead-end debate between those who see globalization as a phenomenon wholly without precedent and those who see it simply as modernization, imperialism, or global capitalism with a new face, the contributors seek to illuminate how space and time are transforming each other in special ways in the present era. They examine how this complex transformation involves changes in the situation of the nation, the state, and the city. While exploring distinct regions—China, Africa, South America, Europe—and representing different disciplines and genres—anthropology, literature, political science, sociology, music, cinema, photography—the contributors are concerned with both the political economy of location and the locations in which political economies are produced and transformed. A special strength of the collection is its concern with emergent styles of subjectivity, citizenship, and mobilization and with the transformations of state power through which market rationalities are distributed and embodied locally.

Contributors. Arjun Appadurai, Jean François Bayart, Jérôme Bindé, Néstor García Canclini, Leo Ching, Steven Feld, Ralf D. Hotchkiss, Wu Hung, Andreas Huyssen, Boubacar Touré Mandémory, Achille Mbembe, Philipe Rekacewicz, Saskia Sassen, Fatu Kande Senghor, Seteney Shami, Anna Tsing, Zhang Zhen

Colombia’s western Coffee Region is renowned for the whiteness of its inhabitants, who are often described as respectable pioneer families who domesticated a wild frontier and planted coffee on the forested slopes of the Andes. Some local inhabitants, however, tell a different tale—of white migrants rapaciously usurping the lands of indigenous and black communities. Muddied Waters examines both of these legends, showing how local communities, settlers, speculators, and politicians struggled over jurisdictional boundaries and the privatization of communal lands in the creation of the Coffee Region. Viewing the emergence of this region from the perspective of Riosucio, a multiracial town within it, Nancy P. Appelbaum reveals the contingent and contested nature of Colombia’s racialized regional identities.

Nineteenth- and twentieth-century Colombian elite intellectuals, Appelbaum contends, mapped race onto their mountainous topography by defining regions in racial terms. They privileged certain places and inhabitants as white and modern and denigrated others as racially inferior and backward. Inhabitants of Riosucio, however, elaborated local narratives about their mestizo and indigenous identities that contested the white mystique of the Coffee Region. Ongoing violent conflicts over land and politics, Appelbaum finds, continue to shape local debates over history and identity. Drawing on archival and published sources complemented by oral history, Muddied Waters vividly illustrates the relationship of mythmaking and racial inequality to regionalism and frontier colonization in postcolonial Latin America.

James Applewhite has produced nine extraordinary books of poetry. This volume is the first anthology of his remarkable oeuvre. It brings together chronologically arranged selections from all of his previous books, from the first, published in 1975, through the most recent, published in 2002. Applewhite’s poetry is deeply rooted in the history and rhythms of rural North Carolina, where he was born and raised, and these poems mark stages in an artistic and personal journey he has undertaken over the past thirty years.

In impeccable and surprising language, Applewhite depicts the social conventions, changes, frictions, and continuities of small southern towns. He celebrates that which he values as decent and life-enhancing, and his veneration is perhaps most apparent in his response to the natural world, to the rivers and trees and flowers. Yet Applewhite’s love for his native land is not straightforward. His verse chronicles his conflicted feelings for the region that gave him the initial, evocative language of place and immersed him in a blazing sensory world while it also bequeathed the distortions, denials, and prejudices that make it so painful a labyrinth. Rendering troubled legacies as well as profound decency, Applewhite reveals the universally human in a distinctively local voice, within dramatic and mundane moments of hope and sorrow and faith.

What is the impact of globalization on texts and media? To what extent do artists and writers consciously or unconsciously build translatability into their work? Translation in a Global Market addresses these questions as well as the problems that may arise from a global market in cultural and aesthetic forms. For instance, what does a global market that increasingly rewards translation-friendly works that cross linguistic and cultural boundaries mean for publishing in non-Western languages? What are the politics of an emergent internationalized aesthetic that privileges metropolitan over vernacular genres? And why do specific cultural objects arrive and circulate in various public spheres? The essays in this volume critically investigate these questions without assuming that these objects were destined to arrive in those public spheres.
Translation in a Global Market assembles contributors from several academic disciplines as well as visual artists for a closer look at the formation of an international canon and at the kinds of texts that gain international visibility. The essays urge a shift in emphasis from global literacy—which implies the use of a standard language and a preference for translatability in texts—to transnational literacy, which places minority and diaspora literatures in direct conversation with each other rather than with Paris, London, or New York.

Contributors. Dina Al-Kassim, Emily Apter, Timothy Brennan, Elena Climent, Maryse Condé, Michael Eng, Renée Green, Rainer Ganahl, Sarah M. Hudgins, Michael North, Gayatri Chakravorty Spivak

Increasingly in the last decade, macropolitics—a consideration of political transformations at the level of the state—has become a focus for cultural inquiry. From the macropolitical perspective afforded by contemporary postcolonial studies, the essays in this collection explore the relationship between politics and culture by examining developments in a wide range of nineteenth-century writing.
The dozen essays gathered here span the entire era of colonization and discuss the British Isles, Europe, the United States, India, the Caribbean, and Africa. Addressing the works of Wordsworth, Shelley, Dickens, Melville, Flaubert, Conrad, and Charlotte Brontë, as well as explorers’ reports, Bible translations, popular theater, and folklore, the contributors consider such topics as the political function of aesthetic containment, the redefinitions of nationality under the pressure of imperial ambition, and the coexistence of imperial and revolutionary tendencies. New historical data and new interpretive perspectives alter our conception of established masterpieces and provoke new understandings of the political and cultural context within which these works emerged. This anthology demonstrates that the macropolitical concept of imperialism can provide a new understanding of nineteenth-century cultural production by integrating into a single process the well-established topics of nationalism and exoticism.
First published in 1991 (University of Pennsylvania Press), Macropolitics of Nineteenth-Century Literature is now available in paperback. Offering agenda-setting essays in cultural and Victorian studies, it will be of interest to students and scholars of British and American literature, literary theory, and colonial and postcolonial studies.

Contributors. Jonathan Arac, Chris Bongie, Wai-chee Dimock, Bruce Greenfield, Mark Kipperman, James F. Knapp, Loren Kruger, Lisa Lowe, Susan Meyer, Jeff Nunokawa, Harriet Ritvo, Marlon B. Ross, Nancy Vogeley, Sue Zemka

In Tropicopolitans Srinivas Aravamudan reconstructs the colonial imagination of the eighteenth century. By exploring representations of peoples and cultures subjected to colonial discourse, he makes a case for the agency—or the capacity to resist domination—of those oppressed. Aravamudan’s analysis of texts that accompanied European commercial and imperial expansion from the Glorious Revolution through the French Revolution reveals the development of anticolonial consciousness prior to the nineteenth century.
“Tropicalization” is the central metaphor of this analysis, a term that incorporates both the construction of various dynamic tropes by which the colonized are viewed and the site of the study, primarily the tropics. Tropicopolitans, then, are those people who bear and resist the representations of colonialist discourse. In readings that expose new relationships between literary representation and colonialism in the eighteenth century, Aravamudan considers such texts as Behn’s Oroonoko, Defoe’s Robinson Crusoe and Captain Singleton, Addison’s Cato, and Swift’s Gulliver’s Travels and The Drapier’s Letters. He extends his argument to include analyses of Johnson’s Rasselas, Beckford’s Vathek, Montagu’s travel letters, Equiano’s autobiography, Burke’s political and aesthetic writings, and Abbé de Raynal’s Histoire des deux Indes. Offering a radical approach to literary history, this study provides new mechanisms for understanding the development of anticolonial agency.
Introducing eighteenth-century studies to a postcolonial hermeneutics, Tropicopolitans will interest scholars engaged in postcolonial studies, eighteenth-century literature, and literary theory.

In bringing together a geographically and temporally broad range of interdisciplinary historical scholarship, this issue of Radical History Review offers an expansive examination of gender, violence, and the state. Through analyses of New York penitentiaries, anarchists in early twentieth-century Japan, and militarism in the 1990s, contributors reconsider how historical conceptions of masculinity and femininity inform the persistence of and punishments for gendered violence. The contributors to a section on violence and activism challenge the efficacy of state solutions to gendered violence in a contemporary U.S. context, highlighting alternatives posited by radical feminist and queer activists. In five case studies drawn from South Africa, India, Ireland, East Asia, and Nigeria, contributors analyze the archive's role in shaping current attitudes toward gender, violence, and the state, as well as its lasting imprint on future quests for restitution or reconciliation. This issue also features a visual essay on the "false positives" killings in Colombia and an exploration of Zanale Muholi’s postapartheid activist photography.

Contributors: Lisa Arellano, Erica L. Ball, Josh Cerretti, Jonathan Culleton, Amanda Frisken, Raphael Ginsberg, Deana Heath, Efeoghene Igor, Catherine Jacquet, Jessie Kindig, Benjamin N. Lawrance, Jen Manion, Xhercis Méndez, Luis Morán, Claudia Salamanca, Tomoko Seto, Carla Tsampiras, Jennifer Yeager

Earth Politics focuses on the lives of four indigenous activist-intellectuals in Bolivia, key leaders in the Alcaldes Mayores Particulares (AMP), a movement established to claim rights for indigenous education and reclaim indigenous lands from hacienda owners. The AMP leaders invented a discourse of decolonization, rooted in part in native religion, and used it to counter structures of internal colonialism, including the existing racial systems. Waskar Ari calls their social movement, practices, and discourse earth politics, both because the AMP emphasized the idea of the earth and the place of Indians on it, and because of the political meaning that the AMP gave to the worship of the Aymara gods. Depicting the social worlds and life work of the activists, Ari traverses Bolivia's political and social landscape from the 1920s into the early 1970s. He reveals the AMP 's extensive geographic reach, genuine grassroots quality, and vibrant regional diversity. Ari had access to the private archives of indigenous families, and he collected oral histories, speaking with men and women who knew the AMP leaders. The resulting examination of Bolivian indigenous activism is one of unparalleled nuance and depth.

Despite recent political movements to establish democratic rule in Latin American countries, much of the region still suffers from pervasive violence. From vigilantism, to human rights violations, to police corruption, violence persists. It is perpetrated by state-sanctioned armies, guerillas, gangs, drug traffickers, and local community groups seeking self-protection. The everyday presence of violence contrasts starkly with governmental efforts to extend civil, political, and legal rights to all citizens, and it is invoked as evidence of the failure of Latin American countries to achieve true democracy. The contributors to this collection take the more nuanced view that violence is not a social aberration or the result of institutional failure; instead, it is intimately linked to the institutions and policies of economic liberalization and democratization.

The contributors—anthropologists, political scientists, sociologists, and historians—explore how individuals and institutions in Latin American democracies, from the rural regions of Colombia and the Dominican Republic to the urban centers of Brazil and Mexico, use violence to impose and contest notions of order, rights, citizenship, and justice. They describe the lived realities of citizens and reveal the historical foundations of the violence that Latin America suffers today. One contributor examines the tightly woven relationship between violent individuals and state officials in Colombia, while another contextualizes violence in Rio de Janeiro within the transnational political economy of drug trafficking. By advancing the discussion of democratic Latin American regimes beyond the usual binary of success and failure, this collection suggests more sophisticated ways of understanding the challenges posed by violence, and of developing new frameworks for guaranteeing human rights in Latin America.

Contributors: Enrique Desmond Arias, Javier Auyero, Lilian Bobea, Diane E. Davis, Robert Gay, Daniel M. Goldstein, Mary Roldán, Todd Landman, Ruth Stanley, María Clemencia Ramírez

Roberto Arlt, celebrated in Argentina for his tragicomic, punch-in-the-jaw writing during the 1920s and 1930s, was a forerunner of Latin American “boom” and “postboom” novelists such as Gabriel García Márquez and Isabel Allende. Mad Toy, acclaimed by many as Arlt’s best novel, is set against the chaotic background of Buenos Aires in the early twentieth century. Set in the badlands of adolescence, where acts of theft and betrayal become metaphors for creativity, Mad Toy is equal parts pulp fiction, realism, detective story, expressionist drama, and creative memoir.
An immigrant son of a German father and an Italian mother, Arlt as a youth was a school dropout, poor and often hungry. In Mad Toy, he incorporates his personal experience into the lives of his characters. Published in 1926 as El juguete rabioso, the novel follows the adventures of Silvio Astier, a poverty-stricken and frustrated youth who is drawn to gangs and a life of petty crime. As Silvio struggles to bridge the gap between exuberant imagination and the sordid reality around him, he becomes fascinated with weapons, explosives, vandalism, and thievery, despite a desperate desire to rise above his origins. Flavored with a dash of romance, a hint of allegory, and a healthy dose of irony, the novel’s language varies from the cultured idiom of the narrator to the dialects and street slang of the novel’s many colorful characters.
Mad Toy has appeared in numerous Spanish editions and has been adapted for the stage and for film. It is the second of Arlt’s novels to be translated into English.

An eyewitness account of the first major international war-crimes tribunal since the Nuremberg trials, Twilight of Impunity is a gripping guide to the prosecution of Slobodan Milosevic for war crimes, crimes against humanity, and genocide. The historic trial of the “Butcher of the Balkans” began in 2002 and ended abruptly with Milosevic’s death in 2006. Judith Armatta, a lawyer who spent three years in the former Yugoslavia during Milosevic’s reign, had a front-row seat at the trial. In Twilight of Impunity she brings the dramatic proceedings to life, explains complex legal issues, and assesses the trial’s implications for victims of the conflicts in the Balkans during the 1990s and international justice more broadly. Armatta acknowledges the trial’s flaws, particularly Milosevic’s grandstanding and attacks on the institutional legitimacy of the International Criminal Tribunal. Yet she argues that the trial provided an indispensable legal and historical narrative of events in the former Yugoslavia and a valuable forum where victims could tell their stories and seek justice. It addressed crucial legal issues, such as the responsibility of commanders for crimes committed by subordinates, and helped to create a framework for conceptualizing and organizing other large-scale international criminal tribunals. The prosecution of Slobodan Milosevic in The Hague was an important step toward ending impunity for leaders who perpetrate egregious crimes against humanity.

How has the form of the novel responded to the conditions now grouped under the term “neoliberalism”? These conditions have generated an explosion of narrative forms that make the past two decades one of the two or three most significant periods in the history of the novel. The contributors ask whether these formal innovations can be understood as an unprecedented break from the past or the latest chapter in a process that has been playing out over the past three centuries. In response to this question, they use a range of contemporary novels to consider whether conditions of multinational capitalism limit the novel’s ability to imagine a future beyond the limits of that world. Do novels that reject the option of an alternative world nevertheless reimagine the limits of multinational capitalism as the precondition for such a future? With these concerns in mind, contributors demonstrate how major contemporary novelists challenge national traditions of the novel both in the Anglophone West and across the Global South. This collective inquiry begins with a new essay by and interview with British novelist Tom McCarthy. 

Contributors
Nancy Armstrong, Jane Elliott, Matthew Hart, Nathan Hensley, Nicholas Huber, Jeanne-Marie Jackson, John Marx, Tom McCarthy, Vaughn Rasberry, Deisdra Reber, Lily Saint, Emilio Sauri, Rachel Greenwald Smith, Paul Stasi

For decades, tuberculosis in Buenos Aires was more than a dangerous bacillus. It was also an anxious state of mind shaped not only by fears of contagion and death but also by broader social and cultural concerns. These worries included changing work routines, rapid urban growth and its consequences for housing and living conditions, efforts to build a healthy “national race,” and shifting notions of normality and pathology. In The Ailing City, the historian Diego Armus explores the metaphors, state policies, and experiences associated with tuberculosis in Buenos Aires between 1870 and 1950. During those years, the disease was conspicuous and frightening, and biomedicine was unable to offer an effective cure. Against the background of the global history of tuberculosis, Armus focuses on the making and consolidation of medicalized urban life in the Argentine capital. He discusses the state’s intrusion into private lives and the ways that those suffering from the disease accommodated and resisted official attempts to care for them and to reform and control their morality, sociability, sexuality, and daily habits. The Ailing City is based on an impressive array of sources, including literature, journalism, labor press, medical journals, tango lyrics, films, advertising, imagery, statistics, official reports, and oral history. It offers a unique perspective on the emergence of modernity in a cosmopolitan city on the periphery of world capitalism.

Challenging traditional approaches to medical history, Disease in the History of Modern Latin America advances understandings of disease as a social and cultural construction in Latin America. This innovative collection provides a vivid look at the latest research in the cultural history of medicine through insightful essays about how disease—whether it be cholera or aids, leprosy or mental illness—was experienced and managed in different Latin American countries and regions, at different times from the late nineteenth century to the present.

Based on the idea that the meanings of sickness—and health—are contestable and subject to controversy, Disease in the History of Modern Latin America displays the richness of an interdisciplinary approach to social and cultural history. Examining diseases in Mexico, Brazil, Argentina, Colombia, Peru, and Bolivia, the contributors explore the production of scientific knowledge, literary metaphors for illness, domestic public health efforts, and initiatives shaped by the agendas of international agencies. They also analyze the connections between ideas of sexuality, disease, nation, and modernity; the instrumental role of certain illnesses in state-building processes; welfare efforts sponsored by the state and led by the medical professions; and the boundaries between individual and state responsibilities regarding sickness and health. Diego Armus’s introduction contextualizes the essays within the history of medicine, the history of public health, and the sociocultural history of disease.

Contributors. Diego Armus, Anne-Emanuelle Birn, Kathleen Elaine Bliss, Ann S. Blum, Marilia Coutinho, Marcus Cueto, Patrick Larvie, Gabriela Nouzeilles, Diana Obregón, Nancy Lays Stepan, Ann Zulawski

Anjali Arondekar considers the relationship between sexuality and the colonial archive by posing the following questions: Why does sexuality (still) seek its truth in the historical archive? What are the spatial and temporal logics that compel such a return? And conversely, what kind of “archive” does such a recuperative hermeneutics produce? Rather than render sexuality’s relationship to the colonial archive through the preferred lens of historical invisibility (which would presume that there is something about sexuality that is lost or silent and needs to “come out”), Arondekar engages sexuality’s recursive traces within the colonial archive against and through our very desire for access.

The logic and the interpretive resources of For the Record arise out of two entangled and minoritized historiographies: one in South Asian studies and the other in queer/sexuality studies. Focusing on late colonial India, Arondekar examines the spectacularization of sexuality in anthropology, law, literature, and pornography from 1843 until 1920. By turning to materials and/or locations that are familiar to most scholars of queer and subaltern studies, Arondekar considers sexuality at the center of the colonial archive rather than at its margins. Each chapter addresses a form of archival loss, troped either in a language of disappearance or paucity, simulacrum or detritus: from Richard Burton’s missing report on male brothels in Karáchi (1845) to a failed sodomy prosecution in Northern India, Queen Empress v. Khairati (1884), and from the ubiquitous India-rubber dildos found in colonial pornography of the mid-to-late nineteenth century to the archival detritus of Kipling’s stories about the Indian Mutiny of 1857.

Staging a much-needed conversation between two often-segregated fields, this issue addresses the promising future of queer and area studies as collaborative formations. Within queer studies, the turn to geopolitics has challenged the field's logics of time, space, and culture, which have routinely been rooted in the United States. For area studies, the focus on diaspora, forced migration, and other transnational trajectories has unmoored the geopolitical from the stability of nations as organizing concepts. The contributors to this issue seek to imagine and broker conversations between the two fields in which "area" becomes the form through which epistemologies of empire and market are critiqued. Histories of debt bondage; sexuality, and indentured labor; Afro-pessimism in African studies; trans theater facing obdurate transits; religion and the politics of Dalit modernity; the biopolitics of maiming: these are some of the conduits through which the authors approach a queer geopolitics.

Contributors: Anjali Arondekar, Ashley Currier, Aliyah Khan, Keguro Macharia, Thérèse Migraine-George, Maya Mikdashi, Geeta Patel, Jasbir K. Puar, Lucinda Ramberg, Neferti Tadiar, Diana Taylor, Ronaldo Wilson

This classic study of the American working class, originally published in 1973, is now back in print with a new introduction and epilogue by the author. An innovative blend of first-person experience and original scholarship, Aronowitz traces the historical development of the American working class from post-Civil War times and shows why radical movements have failed to overcome the forces that tend to divde groups of workers from one another. The rise of labor unions is analyzed, as well as their decline as a force for social change. Aronowitz’s new introduction situates the book in the context of developments in current scholarship and the epilogue discusses the effects of recent economic and political changes in the American labor movement.

In 1774 Mexico City leaders created the Mexico City Poor House—the centerpiece of a bold experiment intended to eliminate poverty and impose a new work ethic on former beggars by establishing a forcible internment policy for some and putting others to work. In Containing the Poor Silvia Marina Arrom tells the saga of this ill-fated plan, showing how the asylum functioned primarily to educate white orphans instead of suppressing mendicancy and exerting control over the multiracial community for whom it was designed.
For a nation that had traditionally regarded the needy as having the undisputed right to receive alms and whose affluent citizens felt duty-bound to dispense them, the experiment was doomed from the start, explains Arrom. She uses deep archival research to reveal that—much to policymakers’ dismay—the Poor House became an orphanage largely because the government had underestimated the embeddedness of this moral economy of begging. While tracing the course of an eventful century that also saw colonialism give way to republicanism in Mexico, Arrom links the Poor House’s transformation with other societal factors as well, such as Mexican women’s increasing impact on social welfare policies.
With poverty, begging, and homelessness still rampant in much of Latin America today, this study of changing approaches to social welfare will be particularly valuable to student and scholars of Mexican and Latin American society and history, as well as those engaged in the study of social and welfare policy.

As our millennium draws to a close, we find ourselves in the midst of great and rapid global changes with nations and political systems dissolving all around us and the world becoming one of shifting identities--of peoples unified and divided by such distinctions as nationality, ethnicity, race, religion, and colonial status. The articulation and construction of these distinctions, the very language of difference, is the subject of An Other Tongue. This collection of essays by a group of distinguished scholars, including Norma Alarcón, Gayatri Spivak, Tzvetan Todorov, and Gerald Vizenor, explores the interconnections between language and identity.
The Chicanos, the U.S./Mexico borderland polyglots whose sense of history, nationality, and race is as mixed as their language, are the book's prime example. But the authors recognize that border zones, like diasporas and post-colonial relations, occur globally, and their discussion of hybrid or mestizo identities ranges from the United States to the Caribbean to South Asia to Ireland. Drawing on personal experience, readings of poetry and fiction, and cultural theory, the authors detail the politics of being human through the mediation of language. What does "shadow" mean to the Native American Indian, or diaspora to the East Indian immigrant? How does British colonialism yet affect Irish and Indian nationalist literary production? Why is the split between Eastern and Western European language use necessarily schizophrenic? So much of our sense of difference today is constructed as we speak, and An Other Tongue speaks with eloquence to this phenomenon and will be of great interest to those concerned with the discourse of post-colonial studies, critical theory, and the remapping of world literature.

Contributors. Norma Alarcón, Alfred Arteaga, Juan Bruce-Novoa, Cordelia Chávez Candelaria, Michael G. Cooke, Edmundo Desnoes, Eugene C. Eoyang, David Lloyd, Lydie Moudileno, Jean-Luc Nancy, Tejaswini Niranjana, Ada Savin, Gayatri Chakravorty Spivak, Michael Smith, Tzvetan Todorov, Luis A. Torres, Gerald Vizenor

In Tropical Freedom Ikuko Asaka engages in a hemispheric examination of the intersection of emancipation and settler colonialism in North America. Asaka shows how from the late eighteenth century through Reconstruction, emancipation efforts in the United States and present-day Canada were accompanied by attempts to relocate freed blacks to tropical regions, as black bodies were deemed to be more physiologically compatible with tropical climates. This logic conceived of freedom as a racially segregated condition based upon geography and climate. Regardless of whether freed people became tenant farmers in Sierra Leone or plantation laborers throughout the Caribbean, their relocation would provide whites with a monopoly over the benefits of settling indigenous land in temperate zones throughout North America. At the same time, black activists and intellectuals contested these geographic-based controls by developing alternative discourses on race and the environment. By tracing these negotiations of the transnational racialization of freedom, Asaka demonstrates the importance of considering settler colonialism and black freedom together while complicating the prevailing frames through which the intertwined histories of British and U.S. emancipation and colonialism have been understood.

Drawing on case studies developed over a two-year period, 1987–1989, by Fellows in the Program in International Development Policy at Duke University, including experienced representatives from developing countries, the World Bank, and scholars, the authors integrate the growing interest in environmental protection and resource conservation into the existing body of knowledge about the political economy of developing countries.
This book is about the links that tie resource use, environmental quality, and economic development, and the way in which those links are affected by the distribution of income and resource ownership. The links may be relatively simple, as in the case of peasant farmers too poor to conserve resources for the future and with nothing to gain from sound environmental practices. Or they may be very complex—as the authors find when they demonstrate how achievement of higher incomes by the rich can increase environmentally destructive behavior by the poor. Many of the links in some way involve rural land use, whether for agriculture or forestry. Natural Resource Policymaking in Developing Countries argues that the policies that matter are not merely those dealing with resources and the environment, but a much broader set that includes income distribution and asset ownership.

The International Commission for Central American Recovery and Development was created in 1987 to analyze development in the region and to make recommendations to the region’s governments and to the international community. The essays in this volume were written by experts in Central American development, economics, politics, and administration who were asked by the commission to synthesize existing knowledge on Central America’s prospects for aid, trade, and institutional reform, and to propose creative approaches to the problems facing the region. The Center for International Development Research at Duke University was chosen to perform the editorial and support tasks for the commission.

The 1980s were one of the most turbulent decades in Central America’s history, a history that has been marked by more than its share of strife and upheaval. The wars, economic hardship, and political unrest and instability that have dominated news of the region have been years in the making, the products of flawed and inequitable economic, social, and political structures.
The International Commission for Central American Recovery and Development (ICCARD) was formed to provide a thorough diagnosis and analysis of Central America’s problems and to draft a comprehensive long-term strategy to move the region from decline to development. In this report ICCARD—through forty-five international experts in economics, public policy, management, and development it assembled for this purpose—attempts to rise above rhetoric and simplistic remedies to focus on well-reasoned, thorough, and realistic approaches to economic and social development.
This volume reviews the unequal access of marginal groups to political and economic participation, the precarious situation of Central American financial institutions, the international debt situation, the prospects for regional political and economic integration, and other aspects of regional development. Each of these challenges is addressed by specific recommendations to the Central American governments, the governments of the industrialized nations, and international organizations.

The Guide to Sustainable Development and Environmental Policy is a comprehensive presentation of definitions, philosophies, policies, models, and analyses of global environmental and developmental issues. With a wealth of comparative, multidisciplinary, and geographically varied perspectives on environmental governance, it also provides detailed and balanced discussions about specific environmental issues.
The guide combines formal, objective entries with critical commentaries that emphasize different opinions and controversies. With succinct explanations of more than a thousand terms, thoughtful interpretations by international experts, and helpful cross-referencing, this resource is designed to serve as a roadmap for understanding the issues and debates in the overlapping fields of environment and development. Intended for use by activists, journalists, policymakers, students, scholars, and interested citizens, the Guide to Sustainable Development and Environmental Policy will be a helpful tool for anyone trying to get a comprehensive look at the many environmental organizations, schools of thought, development programs, international environmental treaties, conventions, and strategies that have proliferated in the past few decades.

In Black and Green, Kiran Asher provides a powerful framework for reconceptualizing the relationship between neoliberal development and social movements. Moving beyond the notion that development is a hegemonic, homogenizing force that victimizes local communities, Asher argues that development processes and social movements shape each other in uneven and paradoxical ways. She bases her argument on ethnographic analysis of the black social movements that emerged from and interacted with political and economic changes in Colombia’s Pacific lowlands, or Chocó region, in the 1990s.

The Pacific region had yet to be overrun by drug traffickers, guerrillas, and paramilitary forces in the early 1990s. It was better known as the largest area of black culture in the country (90 percent of the region’s population is Afro-Colombian) and as a supplier of natural resources, including timber, gold, platinum, and silver. Colombia’s Law 70, passed in 1993, promised ethnic and cultural rights, collective land ownership, and socioeconomic development to Afro-Colombian communities. At the same time that various constituencies sought to interpret and implement Law 70, the state was moving ahead with large-scale development initiatives intended to modernize the economically backward coastal lowlands. Meanwhile national and international conservation organizations were attempting to protect the region’s rich biodiversity. Asher explores this juxtaposition of black rights, economic development, and conservation—and the tensions it catalyzed. She analyzes the meanings attached to “culture,” “nature,” and “development” by the Colombian state and Afro-Colombian social movements, including women’s groups. In so doing, she shows that the appropriation of development and conservation discourses by the social movements had a paradoxical effect. It legitimized the presence of state, development, and conservation agencies in the Pacific region even as it influenced those agencies’ visions and plans.

One of the most original and prolific economists of the twentieth century, Joan Robinson (1903–83) is widely regarded as the most important woman in the history of economic thought. Robinson studied economics at Cambridge University, where she made a career that lasted some fifty years. She was an unlikely candidate for success at Cambridge. A young woman in 1930 in a university dominated by men, she succeeded despite not having a remarkable academic record, a college fellowship, significant publications, or a powerful patron. In The Provocative Joan Robinson, Nahid Aslanbeigui and Guy Oakes trace the strategies and tactics Robinson used to create her professional identity as a Cambridge economist in the 1930s, examining how she recruited mentors and advocates, carefully defined her objectives, and deftly pursued and exploited opportunities.

Aslanbeigui and Oakes demonstrate that Robinson’s professional identity was thoroughly embedded in a local scientific culture in which the Cambridge economists A. C. Pigou, John Maynard Keynes, Dennis Robertson, Piero Sraffa, Richard Kahn (Robinson’s closest friend on the Cambridge faculty), and her husband Austin Robinson were important figures. Although the economists Joan Robinson most admired—Pigou, Keynes, and their mentor Alfred Marshall—had discovered ideas of singular greatness, she was convinced that each had failed to grasp the essential theoretical significance of his own work. She made it her mission to recast their work both to illuminate their major contributions and to redefine a Cambridge tradition of economic thought. Based on the extensive correspondence of Robinson and her colleagues, The Provocative Joan Robinson is the story of a remarkable woman, the intellectual and social world of a legendary group of economists, and the interplay between ideas, ambitions, and disciplinary communities.

In the late nineteenth century, Japan's new Meiji government established museums to showcase a national aesthetic heritage. Inspired by Western museums and expositions, these institutions were introduced by government officials hoping to spur industrialization and self-disciplined public behavior, and to cultivate an "imperial public" loyal to the emperor. Japan's network of museums expanded along with its colonies. By the mid-1930s, the Japanese museum system had established or absorbed institutions in Taiwan, Korea, Sakhalin, and Manchuria. Not surprising, colonial subjects' views of Japanese imperialism differed from those promulgated by the Japanese state. Meanwhile, in Japan, philanthropic and commercial museums were expanding, revising, and even questioning the state-sanctioned aesthetic canon. Public Properties describes how museums in Japan and its empire contributed to the reimagining of state and society during the imperial era, despite vigorous disagreements about what was to be displayed, how, and by whom it was to be seen.

In Surrogate Humanity Neda Atanasoski and Kalindi Vora trace the ways in which robots, artificial intelligence, and other technologies serve as surrogates for human workers within a labor system entrenched in racial capitalism and patriarchy. Analyzing myriad technologies, from sex robots and military drones to sharing-economy platforms, Atanasoski and Vora show how liberal structures of antiblackness, settler colonialism, and patriarchy are fundamental to human---machine interactions, as well as the very definition of the human. While these new technologies and engineering projects promise a revolutionary new future, they replicate and reinforce racialized and gendered ideas about devalued work, exploitation, dispossession, and capitalist accumulation. Yet, even as engineers design robots to be more perfect versions of the human—more rational killers, more efficient workers, and tireless companions—the potential exists to develop alternative modes of engineering and technological development in ways that refuse the racial and colonial logics that maintain social hierarchies and inequality.

Japan’s jazz community—both musicians and audience—has been begrudgingly recognized in the United States for its talent, knowledge, and level of appreciation. Underpinning this tentative admiration, however, has been a tacit agreement that, for cultural reasons, Japanese jazz “can’t swing.” In Blue Nippon E. Taylor Atkins shows how, strangely, Japan’s own attitude toward jazz is founded on this same ambivalence about its authenticity.
Engagingly told through the voices of many musicians, Blue Nippon explores the true and legitimate nature of Japanese jazz. Atkins peers into 1920s dancehalls to examine the Japanese Jazz Age and reveal the origins of urban modernism with its new set of social mores, gender relations, and consumer practices. He shows how the interwar jazz period then became a troubling symbol of Japan’s intimacy with the West—but how, even during the Pacific war, the roots of jazz had taken hold too deeply for the “total jazz ban” that some nationalists desired. While the allied occupation was a setback in the search for an indigenous jazz sound, Japanese musicians again sought American validation. Atkins closes out his cultural history with an examination of the contemporary jazz scene that rose up out of Japan’s spectacular economic prominence in the 1960s and 1970s but then leveled off by the 1990s, as tensions over authenticity and identity persisted.
With its depiction of jazz as a transforming global phenomenon, Blue Nippon will make enjoyable reading not only for jazz fans worldwide but also for ethnomusicologists, and students of cultural studies, Asian studies, and modernism.

The Heavens on Earth explores the place of the observatory in nineteenth-century science and culture. Astronomy was a core pursuit for observatories, but usually not the only one. It belonged to a larger group of “observatory sciences” that also included geodesy, meteorology, geomagnetism, and even parts of physics and statistics. These pursuits coexisted in the nineteenth-century observatory; this collection surveys them as a coherent whole. Broadening the focus beyond the solitary astronomer at his telescope, it illuminates the observatory’s importance to technological, military, political, and colonial undertakings, as well as in advancing and popularizing the mathematical, physical, and cosmological sciences.

The contributors examine “observatory techniques” developed and used not only in connection with observatories but also by instrument makers in their workshops, navy officers on ships, civil engineers in the field, and many others. These techniques included the calibration and coordination of precision instruments for making observations and taking measurements; methods of data acquisition and tabulation; and the production of maps, drawings, and photographs, as well as numerical, textual, and visual representations of the heavens and the earth. They also encompassed the social management of personnel within observatories, the coordination of international scientific collaborations, and interactions with dignitaries and the public. The state observatory occupied a particularly privileged place in the life of the city. With their imposing architecture and ancient traditions, state observatories served representative purposes for their patrons, whether as symbols of a monarch’s enlightened power, a nation’s industrial and scientific excellence, or republican progressive values. Focusing on observatory techniques in settings from Berlin, London, Paris, and Rome to Australia, Russia, Thailand, and the United States, The Heavens on Earth is a major contribution to the history of science.

Contributors: David Aubin, Charlotte Bigg, Guy Boistel, Theresa Levitt, Massimo Mazzotti, Ole Molvig, Simon Schaffer, Martina Schiavon , H. Otto Sibum, Richard Staley, John Tresch, Simon Werrett, Sven Widmalm

Dark Borders connects anxieties about citizenship and national belonging in midcentury America to the sense of alienation conveyed by American film noir. Jonathan Auerbach provides in-depth interpretations of more than a dozen of these dark crime thrillers, considering them in relation to U.S. national security measures enacted from the mid-1930s to the mid-1950s. The growth of a domestic intelligence-gathering apparatus before, during, and after the Second World War raised unsettling questions about who was American and who was not, and how to tell the difference. Auerbach shows how politics and aesthetics merge in these noirs, whose oft-noted uncanniness betrays the fear that “un-American” foes lurk within the homeland. This tone of dispossession was reflected in well-known films, including Double Indemnity, Out of the Past, and Pickup on South Street, and less familiar noirs such as Stranger on the Third Floor, The Chase, and Ride the Pink Horse. Whether tracing the consequences of the Gestapo in America, or the uncertain borderlines that separate the United States from Cuba and Mexico, these movies blur boundaries; inside and outside become confused as (presumed) foreigners take over domestic space. To feel like a stranger in your own home: this is the peculiar affective condition of citizenship intensified by wartime and Cold War security measures, as well as a primary mood driving many midcentury noir films.

When Jack London died in 1916 at age forty, he was one of the most famous writers of his time. Eighty years later he remains one of the most widely read American authors in the world. The first major critical study of London to appear in a decade, Male Call analyzes the nature of his appeal by closely examining how the struggling young writer sought to promote himself in his early work as a sympathetic, romantic man of letters whose charismatic masculinity could carry more significance than his words themselves.
Jonathan Auerbach shows that London’s personal identity was not a basis of his literary success, but rather a consequence of it. Unlike previous studies of London that are driven by the author’s biography, Male Call examines how London carefully invented a trademark “self” in order to gain access to a rapidly expanding popular magazine and book market that craved authenticity, celebrity, power, and personality. Auerbach demonstrates that only one fact of London’s life truly shaped his art: his passionate desire to become a successful author. Whether imagining himself in stories and novels as a white man on trail in the Yukon, a sled dog, a tramp, or a professor; or engaging questions of manhood and mastery in terms of work, race, politics, class, or sexuality, London created a public persona for the purpose of exploiting the conventions of the publishing world and marketplace.
Revising critical commonplaces about both Jack London’s work and the meaning of “nature” within literary naturalism and turn-of-the-century ideologies of masculinity, Auerbach’s analysis intriguingly complicates our view of London and sheds light on our own postmodern preoccupation with celebrity. Male Call will attract readers with an interest in American studies, American literature, gender studies, and cultural studies.

For nearly twenty years, the much-beloved music magazine Roctober has featured work by some of the best underground cartoonists, exhaustive examinations of made-up genres such as “robot rock,” and an ongoing exploration of everything Sammy Davis Jr. ever sang, said, or did. But the heart of the magazine has always been the lengthy conversations with overlooked or forgotten artists. Flying Saucers Rock ’n’ Roll gathers the most compelling of these interviews. Eccentric, important artists—including the rockabilly icon Billy Lee Riley, the jazz musician and activist Oscar Brown Jr., the “Outlaw Country” singer David Allan Coe, and the pioneer rock ’n’ roll group the Treniers—give the most in-depth interviews of their lengthy careers. Obscure musicians, such as the Armenian-language novelty artist Guy Chookoorian and the frustrated interstellar glam act Zolar X, reveal fascinating lives lived at rock’s margins. Roctober’s legendarily dedicated writers convey telling anecdotes in the fervent, captivating prose that has long been appreciated by music enthusiasts. Along with the entertaining interviews, Flying Saucers Rock ’n’ Roll features more than sixty images from the pages of Roctober and ten illustrations created for the book by the underground rock ’n’ roll artist King Merinuk.

Contributors
Steve Albini
Ben Austen
Jake Austen
John Battles
Bosco
Ken Burke
Mike Maltese
King Merinuk
Ken Mottet
Jonathan Poletti
James Porter
"Colonel" Dan Sorenson
Jacqueline Stewart

Patients of the State is a sociological account of the extended waiting that poor people seeking state social and administrative services must endure. It is based on ethnographic research in the waiting area of the main welfare office in Buenos Aires, in the line leading into the Argentine registration office where legal aliens apply for identification cards, and among people who live in a polluted shantytown on the capital’s outskirts, while waiting to be allocated better housing. Scrutinizing the mundane interactions between the poor and the state, as well as underprivileged people’s confusion and uncertainty about the administrative processes that affect them, Javier Auyero argues that while waiting, the poor learn the opposite of citizenship. They learn to be patients of the state. They absorb the message that they should be patient and keep waiting, because there is nothing else that they can do. Drawing attention to a significant everyday dynamic that has received little scholarly attention until now, Auyero considers not only how the poor experience these lengthy waits but also how making poor people wait works as a strategy of state control.

“Political clientelism” is a term used to characterize the contemporary relationships between political elites and the poor in Latin America in which goods and services are traded for political favors. Javier Auyero critically deploys the notion in Poor People’s Politics to analyze the political practices of the Peronist Party among shantytown dwellers in contemporary Argentina.
Looking closely at the slum-dwellers’ informal problem-solving networks, which are necessary for material survival, and the different meanings of Peronism within these networks, Auyero presents the first ethnography of urban clientelism ever carried out in Argentina. Revealing a deep familiarity with the lives of the urban poor in Villa Paraíso, a stigmatized and destitute shantytown of Buenos Aires, Auyero demonstrates the ways in which local politicians present their vital favors to the poor and how the poor perceive and evaluate these favors. Having penetrated the networks, he describes how they are structured, what is traded, and the particular way in which women facilitate these transactions. Moreover, Auyero proposes that the act of granting favors or giving food in return for votes gives the politicians’ acts a performative and symbolic meaning that flavors the relation between problem-solver and problem-holder, while also creating quite different versions of contemporary Peronism. Along the way, Auyero is careful to situate the emergence and consolidation of clientelism in historic, cultural, and economic contexts.
Poor People’s Politics reexamines the relationship between politics and the destitute in Latin America, showing how deeply embedded politics are in the lives of those who do not mobilize in the usual sense of the word but who are far from passive. It will appeal to a wide range of students and scholars of Latin American studies, sociology, anthropology, political science, history, and cultural studies.

Contentious Lives examines the ways popular protests are experienced and remembered, individually and collectively, by those who participate in them. Javier Auyero focuses on the roles of two young women, Nana and Laura, in uprisings in Argentina (the two-day protest in the northwestern city of Santiago del Estero in 1993 and the six-day road blockade in the southern oil towns of Cutral-co and Plaza Huincul in 1996) and the roles of the protests in their lives. Laura was the spokesperson of the picketers in Cutral-co and Plaza Huincul; Nana was an activist in the 1993 protests. In addition to exploring the effects of these episodes on their lives, Auyero considers how each woman's experiences shaped what she said and did during the uprisings, and later, the ways she recalled the events. While the protests were responses to the consequences of political corruption and structural adjustment policies, they were also, as Nana’s and Laura’s stories reveal, quests for recognition, respect, and dignity.

Auyero reconstructs Nana’s and Laura’s biographies through oral histories and diaries. Drawing on interviews with many other protesters, newspaper articles, judicial records, government reports, and video footage, he provides sociological and historical context for their stories. The women’s accounts reveal the frustrations of lives overwhelmed by gender domination, the deprivations brought about by hyper-unemployment and the withering of the welfare component of the state, and the achievements and costs of collective action. Balancing attention to large-scale political and economic processes with acknowledgment of the plurality of meanings emanating from personal experiences, Contentious Lives is an insightful, penetrating, and timely contribution to discussions of popular resistance and the combined effects of globalization, neoliberal economic policies, and political corruption in Argentina and elsewhere.

The Untimely Present examines the fiction produced in the aftermath of the recent Latin American dictatorships, particularly those in Argentina, Brazil, and Chile. Idelber Avelar argues that through their legacy of social trauma and obliteration of history, these military regimes gave rise to unique and revealing practices of mourning that pervade the literature of this region. The theory of postdictatorial writing developed here is informed by a rereading of the links between mourning and mimesis in Plato, Nietzsche’s notion of the untimely, Benjamin’s theory of allegory, and psychoanalytic / deconstructive conceptions of mourning.

Avelar starts by offering new readings of works produced before the dictatorship era, in what is often considered the boom of Latin American fiction. Distancing himself from previous celebratory interpretations, he understands the boom as a manifestation of mourning for literature’s declining aura. Against this background, Avelar offers a reassessment of testimonial forms, social scientific theories of authoritarianism, current transformations undergone by the university, and an analysis of a number of novels by some of today’s foremost Latin American writers—such as Ricardo Piglia, Silviano Santiago, Diamela Eltit, João Gilberto Noll, and Tununa Mercado. Avelar shows how the ‘untimely’ quality of these narratives is related to the position of literature itself, a mode of expression threatened with obsolescence.

This book will appeal to scholars and students of Latin American literature and politics, cultural studies, and comparative literature, as well as to all those interested in the role of literature in postmodernity.

Covering more than one hundred years of history, this multidisciplinary collection of essays explores the vital connections between popular music and citizenship in Brazil. While popular music has served as an effective resource for communities to stake claims to political, social, and cultural rights in Brazil, it has also been appropriated by the state in its efforts to manage and control a socially, racially, and geographically diverse nation. The question of citizenship has also been a recurrent theme in the work of many of Brazil’s most important musicians. These essays explore popular music in relation to national identity, social class, racial formations, community organizing, political protest, and emergent forms of distribution and consumption. Contributors examine the cultural politics of samba in the 1930s, the trajectory of middle-class musical sensibility associated with Música Popular Brasileira (MPB), rock and re-democratization in the 1980s, music and black identity in Bahia, hip hop and community organizing in São Paulo, and the repression of baile funk in Rio in the 1990s. Among other topics, they consider the use of music by the Landless Workers’ Movement, the performance of identity by Japanese Brazilian musicians, the mangue beat movement of Recife, and the emergence of new regional styles, such as lambadão and tecnobrega, that circulate outside of conventional distribution channels. Taken together, the essays reveal the important connections between citizenship, national belonging, and Brazilian popular music.

Contributors. Idelber Avelar, Christopher Dunn, João Freire Filho, Goli Guerreiro, Micael Herschmann, Ari Lima, Aaron Lorenz, Shanna Lorenz, Angélica Madeira, Malcolm K. McNee, Frederick Moehn, Flávio Oliveira, Adalberto Paranhos, Derek Pardue, Marco Aurélio Paz Tella, Osmundo Pinho, Carlos Sandroni, Daniel Sharp, Hermano Vianna, Wivian Weller

Scenes of Instruction is the memoir of noted scholar of African American literature Michael Awkward. Structured around the commencement ceremonies that marked his graduations from various schools, it presents Awkward’s coming-of-age as a bookish black male in the projects of 1970s Philadelphia. His relationships with his family and peers, their struggles with poverty and addiction, and his eventual move from underfunded urban schools to a prestigious private school all become parts of a memorable script.

With a recurring focus on how his mother’s tragic weaknesses and her compelling strengths affected his development, Awkward intersperses the chronologically arranged autobiographical sections with ruminations on his own interests in literary and cultural criticism. As a male scholar who has come under fire for describing himself as a feminist critic, he reflects on such issues as identity politics and the politics of academia, affirmative action, and the Million Man March.

By connecting his personal experiences with larger political, cultural, and professional questions, Awkward uses his life as a palette on which to blend equations of race and reading, urbanity and mutilation, alcoholism, pain, gender, learning, sex, literature, and love.

Soul Covers is an engaging look at how three very different rhythm and blues performers—Aretha Franklin, Al Green, and Phoebe Snow—used cover songs to negotiate questions of artistic, racial, and personal authenticity. Through close readings of song lyrics and the performers’ statements about their lives and work, the literary critic Michael Awkward traces how Franklin, Green, and Snow crafted their own musical identities partly by taking up songs associated with artists such as Dinah Washington, Hank Williams, Willie Nelson, George Gershwin, Billie Holiday, and the Supremes.

Awkward sees Franklin’s early album Unforgettable: A Tribute to Dinah Washington, released shortly after Washington’s death in 1964, as an attempt by a struggling young singer to replace her idol as the acknowledged queen of the black female vocal tradition. He contends that Green’s album Call Me (1973) reveals the performer’s attempt to achieve formal coherence by uniting seemingly irreconcilable aspects of his personal history, including his career in popular music and his religious yearnings, as well as his sense of himself as both a cosmopolitan black artist and a forlorn country boy. Turning to Snow’s album Second Childhood (1976), Awkward suggests that through covers of blues and soul songs, Snow, a white Jewish woman from New York, explored what it means for non-black enthusiasts to perform works considered by many to be black cultural productions. The only book-length examination of the role of remakes in American popular music, Soul Covers is itself a refreshing new take on the lives and work of three established soul artists.

In The Nation’s Tortured Body Brian Keith Axel explores the formation of the Sikh diaspora and, in so doing, offers a powerful inquiry into conditions of peoplehood, colonialism, and postcoloniality. Demonstrating a new direction for historical anthropology, he focuses on the position of violence between 1849 and 1998 in the emergence of a transnational fight for Khalistan (an independent Sikh state). Axel argues that, rather than the homeland creating the diaspora, it has been the diaspora, or histories of displacement, that have created particular kinds of places—homelands.
Based on ethnographic and archival research conducted by Axel at several sites in India, England, and the United States, the text delineates a theoretical trajectory for thinking about the proliferation of diaspora studies and area studies in America and England. After discussing this trajectory in relation to the colonial and postcolonial movement of Sikhs, Axel analyzes the production and circulation of images of Sikhs around the world, beginning with visual representations of Maharaja Duleep Singh, the last Sikh ruler of Punjab, who died in 1893. He argues that imagery of particular male Sikh bodies has situated—at different times and in different ways—points of mediation between various populations of Sikhs around the world. Most crucially, he describes the torture of Sikhs by Indian police between 1983 and the present and discusses the images of tortured Sikh bodies that have been circulating on the Internet since 1996. Finally, he returns to questions of the homeland, reflecting on what the issues discussed in The Nation's Tortured Body might mean for the ongoing fight for Khalistan.
Specialists in anthropology, history, cultural studies, diaspora studies, and Sikh studies will find much of interest in this important work.

Historical anthropology: critical exchange between two decidedly distinct disciplines or innovative mode of knowledge production? As this volume’s title suggests, the essays Brian Keith Axel has gathered in From the Margins seek to challenge the limits of discrete disciplinary epistemologies and conventions, gesturing instead toward a transdisciplinary understanding of the emerging relations between archive and field.
In original articles encompassing a wide range of geographic and temporal locations, eminent scholars contest some of the primary preconceptions of their fields. The contributors tackle such topics as the paradoxical nature of American Civil War monuments, the figure of the “New Christian” in early seventeenth-century Peru, the implications of statistics for ethnography, and contemporary South Africa's “occult economies.” That anthropology and history have their provenance in—and have been complicit with—colonial formations is perhaps commonplace knowledge. But what is rarely examined is the specific manner in which colonial processes imbue and threaten the celebratory ideals of postcolonial reason or the enlightenment of today’s liberal practices in the social sciences and humanities.
By elaborating this critique, From the Margins offers diverse and powerful models that explore the intersections of historically specific local practices with processes of a world historical order. As such, the collection will not only prove valuable reading for anthropologists and historians, but also for scholars in colonial, postcolonial, and globalization studies.

Contributors. Talal Asad, Brian Keith Axel, Bernard S. Cohn, Jean Comaroff, John L. Comaroff, Nicholas B. Dirks, Irene Silverblatt, Paul A. Silverstein, Teri Silvio, Ann Laura Stoler, Michel-Rolph Trouillot