“Aquí mataron gente por sacar la bandera / Por eso es que ahora yo la llevo donde quiera." (Here they killed people for taking out the flag / that’s why I bring it anywhere I want now.)—LA MuDANZA

Global superstar Bad Bunny, born Benito Antonio Martínez Ocasio, like many other Puerto Ricans, has lived a life marked by public crises—blackouts, hurricanes, political corruption and oppression, among others—that have exposed the ongoing impacts of colonialism in Puerto Rico. Offering a portrait of the past and future of Puerto Rican resistance through one of its loudest and proudest voices, P FKN R draws on interviews with musicians, politicians, and journalists as well as ethnographic research to set Bad Bunny and Puerto Rican resistance in a historical, political, and cultural context. Authors Vanessa Díaz and Petra Rivera-Rideau—creators of the “Bad Bunny Syllabus”—demonstrate Bad Bunny’s place in a long tradition of infusing joy and protest into music and honor the many, evolving forms of daily resistance to oppression and colonialism that are part of Puerto Rican life.

A tight ethnographic focus on the popularity and impact of overly processed plant-based foods and supplements in the Philippines.

Through meticulous research and insightful analysis, Packaged Plants explores the intersectionality between health, economics, and environment in the Philippines, offering an absorbing ethnography and cultural history of how the production and consumption of plants for food and medicine have changed as well as how ultra-processed foods have become linked to health concerns, including cardiovascular disease, diabetes, and obesity.
 
Part one of the book presents a comprehensive analysis scrutinizing the colonial influences, urbanization, nutritional policies, research programs, and neoliberal marketing strategies in the Philippines that have proliferated packaged plant-based products as food and medicines. Part two interweaves contemporary urban political ecology frameworks with medical anthropological perspectives within Puerto Princesa and elucidates the precarious circumstances compelling individuals to invest in supplements.

Palestinian cinema arose during the political cinema movements of the late 1960s and early 1970s, yet it was unique as an institutionalized, though modest, film effort within the national liberation campaign of a stateless people. Filmmakers working within the Palestinian Liberation Organization (PLO) and through other channels filmed the revolution as it unfolded, including the Israeli bombings of Palestinian refugee camps, the Jordanian and Lebanese civil wars, and Palestinian life under Israeli occupation, attempting to create a cinematic language consonant with the revolution and its needs. They experimented with form both to make effective use of limited material and to process violent events and loss as a means of sustaining active engagement in the Palestinian political project.

Palestinian Cinema in the Days of Revolution presents an in-depth study of films made between 1968 and 1982, the filmmakers and their practices, the political and cultural contexts in which the films were created and seen, and their afterlives among Palestinian refugees and young filmmakers in the twenty-first century. Nadia Yaqub discusses how early Palestinian cinema operated within emerging public-sector cinema industries in the Arab world, as well as through coproductions and solidarity networks. Her findings aid in understanding the development of alternative cinema in the Arab world. Yaqub also demonstrates that Palestinian filmmaking, as a cinema movement created and sustained under conditions of extraordinary precarity, offers important lessons on the nature and possibilities of political filmmaking more generally.

In Panama in Black, Kaysha Corinealdi traces the multigenerational activism of Afro-Caribbean Panamanians as they forged diasporic communities in Panama and the United States throughout the twentieth century. Drawing on a rich array of sources including speeches, yearbooks, photographs, government reports, radio broadcasts, newspaper editorials, and oral histories, Corinealdi presents the Panamanian isthmus as a crucial site in the making of an Afro-diasporic world that linked cities and towns like Colón, Kingston, Panamá City, Brooklyn, Bridgetown, and La Boca. In Panama, Afro-Caribbean Panamanians created a diasporic worldview of the Caribbean that privileged the potential of Black innovation. Corinealdi maps this innovation by examining the longest-running Black newspaper in Central America, the rise of civic associations created to counter policies that stripped Afro-Caribbean Panamanians of citizenship, the creation of scholarship-granting organizations that supported the education of Black students, and the emergence of national conferences and organizations that linked anti-imperialism and Black liberation. By showing how Afro-Caribbean Panamanians used these methods to navigate anti-Blackness, xenophobia, and white supremacy, Corinealdi offers a new mode of understanding activism, community, and diaspora formation.

As COVID-19 made inroads in the United States in spring 2020, a common refrain rose above the din: “We’re all in this together.” However, the full picture was far more complicated—and far less equitable. Black and Latinx populations suffered illnesses, outbreaks, and deaths at much higher rates than the general populace. Those working in low-paid jobs and those living in confined housing or communities already disproportionately beset by health problems were particularly vulnerable. The contributors to The Pandemic Divide explain how these and other racial disparities came to the forefront in 2020. They explore COVID-19’s impact on multiple arenas of daily life—including wealth, health, housing, employment, and education—while highlighting what steps could have been taken to mitigate the full force of the pandemic. Most crucially, the contributors offer concrete public policy solutions that would allow the nation to respond effectively to future crises and improve the long-term well-being of all Americans.

Contributors. Fenaba Addo, Steve Amendum, Leslie Babinski, Sandra Barnes, Mary T. Bassett, Keisha Bentley-Edwards, Kisha Daniels, William A. Darity Jr., Melania DiPietro, Jane Dokko, Fiona Greig, Adam Hollowell, Lucas Hubbard, Damon Jones, Steve Knotek, Arvind Krishnamurthy, Henry Clay McKoy Jr., N. Joyce Payne, Erica Phillips, Eugene Richardson, Paul Robbins, Jung Sakong, Marta Sánchez, Melissa Scott, Kristen Stephens, Joe Trotter, Chris Wheat, Gwendolyn L. Wright

Pandemic Power is a thought-provoking exploration of how the response to the Covid pandemic has undermined our understanding of science, freedom, and democracy. It delivers a searing critique of policies and narratives that have, in fact, fueled the rise of the extreme right in many countries.

A provocative book arguing that the workplace is where we learn to live democratically.

In The Pandemic Workplace, anthropologist Ilana Gershon turns her attention to the US workplace and how it changed—and changed us—during the pandemic. She argues that the unprecedented organizational challenges of the pandemic forced us to radically reexamine our attitudes about work and to think more deeply about how values clash in the workplace. These changes also led us as workers to engage more with the contracts that bind us as we rethought when and how we allow others to tell us what to do.

Based on over two hundred interviews, Gershon’s book reveals how negotiating these tensions during the pandemic made the workplace into a laboratory for democratic living—the key place where Americans are learning how to develop effective political strategies and think about the common good. Exploring the explicit and unspoken ways we are governed (and govern others) at work, this accessible book shows how the workplace teaches us to be democratic citizens.

This is a study of the twelve small gold lamellae from Crete that were tokens for entrance into a golden afterlife: the deceased who were buried or cremated with them believed that they had 'earned Paradise.' The lamellae are placed within the context of a small corpus of similar texts, and published with extensive commentary on their topography, lettering and engraving, dialect and orthography, meter, chronology, and usage. The texts reveal a hieros logos whose poetics and rituals are not much different from Homeric rhapsodizing and prophetic discourses. Cretan contexts, both literary and archaeological, are also brought to bear on these incised objects and on the burial custom involved. Finally, this work adduces parallels to the texts on the lamellae from the Byzantine period and modern Greece to illuminate the everlasting and persistent human quest for 'earning Paradise.'

In the midst of the United States' immense economic growth in the 1850s, Americans worried about whether the booming agricultural, industrial, and commercial expansion came at the price of cherished American values such as honesty, hard work, and dedication to the common good. Was the nation becoming greedy, selfish, vulgar, and cruel? Was there such a thing as too much prosperity?

At the same time, the United States felt the influence of the rise of popular mass-circulation newspapers and magazines and the surge in American book publishing. Concern over living correctly as well as prosperously was commonly discussed by leading authors and journalists, who were now writing for ever-expanding regional and national audiences. Women became more important as authors and editors, giving advice and building huge markets for women readers, with the magazine Godey's Lady's Book and novels by Susan Warner, Maria Cummins, and Harriet Beecher Stowe expressing women's views about the troubled state of society. Best-selling male writers--including novelist George Lippard, historian George Bancroft, and travel writer Bayard Taylor--were among those adding their voices to concerns about prosperity and morality and about America's place in the world. Writers and publishers discovered that a high moral tone could be exceedingly good for business.

The authors of this book examine how popular writers and widely read newspapers, magazines, and books expressed social tensions between prosperity and morality. This study draws on that nationwide conversation through leading mass media, including circulation-leading newspapers, the New York Herald and the New York Tribune, plus prominent newspapers from the South and West, the Richmond Enquirer and the Cincinnati Enquirer. Best-selling magazines aimed at middle-class tastes, Harper's Magazine and the Southern Literary Messenger, added their voices, as did two leading business magazines.

Uncovering the intricate cultural threads that inform our dietary practices

Paranatures in Culinary Culture embarks on a gastronomic odyssey, redefining foods we thought we knew and revealing the extraordinary stories of ordinary ingredients and the cultural forces shaping our diets. The book begins with a simple premise: to eat is to assimilate the outer world into the inner body, both physically and mentally. But what happens when this assimilation process goes awry? Thomas R. Parker reveals how culinary staples are not only elements of identity formation but also instruments of cultural disruption when their true nature emerges and challenges our preconceptions.

Parker explores how certain foods—bread, oysters, pigs, cheese, and wine—can both create and destabilize narratives, unsettle assimilation, and decenter Western culinary traditions. Taking inspiration from architectural historian David Gissen’s concept of “subnature” and Michel Serres’s idea of the “parasite,” Parker develops the concept of paranatures: flavors, foods, and practices considered unpalatable by different societies at different times. He reveals how certain ordinary foods live parallel paranatural lives, addressing larger issues of colonial and postcolonial food theory and challenging long-held notions that cuisine was meant to uphold.

Serving up a rich blend of history, culture, and gastronomy, Parker leads readers to perceive food as an adventure, inviting them to taste the untamed side of nature. He offers a thought-provoking invitation to reconceptualize the roles and narratives we assign to the natural world and its produce, allowing us to see food, nature, and ourselves in new ways.

Featuring many personal accounts, the twenty-four essays in this collection explore the challenges and possibilities confronting those, especially women, who combine parenting and academic work. Written by a diverse group of educators who present a real-world variety of situations, the collection also includes ideas for change at the individual, interpersonal, policy, and system levels.

A comprehensive history of masks in France from the seventeenth to the nineteenth century. 

Masks can conceal, disguise, or protect. They can guard status, inspire delight, or spread fear. They can also betray trust through insincerity, deceit, and hypocrisy. In Paris Concealed, historian James H. Johnson offers a sweeping history of masks both visible and unseen from the time of Louis XIV to the late nineteenth century, exploring the complex roles that masking and unmasking have played in the fashioning of our social selves.
 
Drawing from memoirs, novels, plays, and paintings, Paris Concealed explores the many domains in which masks have been decisive. Beginning in the court of Versailles, Johnson charts the genesis of courtly politesse and its widespread condemnation by Enlightenment philosophers and political thinkers. He describes strategies deployed in the era of the French Revolution for unmasking traitors and later efforts to penetrate criminal disguises through telltale marks on the body. He portrays the disruptive power of masks in public balls and carnivals and, with the coming of modernity, evokes their unsettling presence within the unconscious. 
 
Compellingly written and beautifully illustrated, Paris Concealed lays bare the mask’s transformations, from marking one’s position in a static society to inspiring imagined identities in meritocracies to impeding the elusive search for one’s true self.  To tell the history of masks, Johnson shows, is to tell the history of modern selfhood.

In 1851, Elizabeth Parker, a free black child in Chester County, Pennsylvania, was bound and gagged, snatched from a local farm, and hurried off to a Baltimore slave pen. Two weeks later, her teenage sister, Rachel, was abducted from another Chester County farm. Because slave catchers could take fugitive slaves and free blacks across state lines to be sold, the border country of Pennsylvania/Maryland had become a dangerous place for most black people.
 
In The Parker Sisters, Lucy Maddox gives an eloquent, urgent account of the tragic kidnapping of these young women. Using archival news and courtroom reports, Maddox tells the larger story of the disastrous effect of the Fugitive Slave Act on the small farming communities of Chester County and the significant, widening consequences for the state and the nation.  
 
The Parker Sisters is also a story about families whose lives and fates were deeply embedded in both the daily rounds of their community and the madness and violence consuming all of antebellum America. Maddox’s account of this horrific and startling crime reveals the strength and vulnerability of the Parker sisters and the African American population.

Parlor Ponds: The Cultural Work of the American Home Aquarium, 1850–1970 examines the myriad cultural meanings of the American home aquarium during the nineteenth and twentieth centuries and argues that the home aquarium provided its enthusiasts with a potent tool for managing the challenges of historical change, from urbanization to globalization. The tank could be a window to an alien world, a theater for domestic melodrama, or a vehicle in a fantastical undersea journey. Its residents were seen as inscrutable and wholly disposable “its,” as deeply loved and charismatic individuals, and as alter egos by aquarists themselves.

Parlor Ponds fills a gap in the growing field of animal studies by showing that the tank is an emblematic product of modernity, one using elements of exploration, technology, science, and a commitment to rigorous observation to contain anxieties spawned by industrialization, urbanization, changing gender roles, and imperial entanglements. Judith Hamera engages advertisements, images, memoirs, public aquarium programs, and enthusiast publications to show how the history of the aquarium illuminates complex cultural attitudes toward nature and domestication, science and religion, gender and alterity, and national conquest and environmental stewardship with an emphasis on the ways it illuminates American public discourse on colonial and postcolonial expansion.

A close look at stories of maternal death in Malawi that considers their implications in the broader arena of medical knowledge.

By the early twenty-first century, about one woman in twelve could expect to die of a pregnancy or childbirth complication in Malawi. Specific deaths became object lessons. Explanatory stories circulated through hospitals and villages, proliferating among a range of practitioners: nurse-midwives, traditional birth attendants, doctors, epidemiologists, herbalists. Was biology to blame? Economic underdevelopment? Immoral behavior? Tradition? Were the dead themselves at fault? 

In Partial Stories, Claire L. Wendland considers these explanations for maternal death, showing how they reflect competing visions of the past and shared concerns about social change. Drawing on extended fieldwork, Wendland reveals how efforts to legitimate a single story as the authoritative version can render care more dangerous than it might otherwise be. Historical, biological, technological, ethical, statistical, and political perspectives on death usually circulate in different expert communities and different bodies of literature. Here, Wendland considers them together, illuminating dilemmas of maternity care in contexts of acute change, chronic scarcity, and endemic inequity within Malawi and beyond.

In her engaging study, Passing for Perfect,erin Khuê Ninh considers the factors that drove college imposters such as Azia Kim—who pretended to be a Stanford freshman—and Jennifer Pan—who hired a hitman to kill her parents before they found out she had never received her high school diploma—to extreme lengths to appear successful. Why would someone make such an illogical choice? And how do they stage these lies so convincingly, and for so long? 

These outlier examples prompt Ninh to address the larger issue of the pressures and difficulties of striving to be model minority, where failure is too ruinous to admit. Passing for Perfect insists that being a “model minority” is not a “myth,” but coded into one’s programming as an identity—a set of convictions and aspirations, regardless of present socioeconomic status or future attainability—and that the true cost of turning children into high-achieving professionals may be higher than anyone can bear.  

Ninh’s book codifies for readers the difference between imposters who are con artists or shysters and those who don’t know how to stop passing for perfect.

In Passionate Work, Renyi Hong theorizes the notion of being “passionate about your work” as an affective project that encourages people to endure economically trying situations like unemployment, job change, repetitive and menial labor, and freelancing. Not simply a subject of aspiration, passion has been deployed as a means to build resilience and mend disappointments with our experiences of work. Tracking the rise of passion in nineteenth-century management to trends like gamification, coworking, and unemployment insurance, Hong demonstrates how passion can emerge in instances that would not typically be understood as passionate. Gamification numbs crippling boredom by keeping call center workers in an unthinking, suspensive state, pursuing even the most banal tasks in hope of career advancement. Coworking spaces marketed toward freelancers combat loneliness and disconnection at the precise moment when middle-class sureties are profoundly threatened. Ultimately, Hong argues, the ideal of passionate work sustains a condition of cruel optimism in which passion is offered as the solution for the injustices of contemporary capitalism.

What can one man accomplish, even a great man and brilliant scientist? Although every town in France has a street named for Louis Pasteur, was he alone able to stop people from spitting, persuade them to dig drains, influence them to undergo vaccination? Pasteur’s success depended upon a whole network of forces, including the public hygiene movement, the medical profession (both military physicians and private practitioners), and colonial interests. It is the operation of these forces, in combination with the talent of Pasteur, that Bruno Latour sets before us as a prime example of science in action.

Latour argues that the triumph of the biologist and his methodology must be understood within the particular historical convergence of competing social forces and conflicting interests. Yet Pasteur was not the only scientist working on the relationships of microbes and disease. How was he able to galvanize the other forces to support his own research? Latour shows Pasteur’s efforts to win over the French public—the farmers, industrialists, politicians, and much of the scientific establishment.

Instead of reducing science to a given social environment, Latour tries to show the simultaneous building of a society and its scientific facts. The first section of the book, which retells the story of Pasteur, is a vivid description of an approach to science whose theoretical implications go far beyond a particular case study. In the second part of the book, “Irreductions,” Latour sets out his notion of the dynamics of conflict and interaction, of the “relation of forces.” Latour’s method of analysis cuts across and through the boundaries of the established disciplines of sociology, history, and the philosophy of science, to reveal how it is possible not to make the distinction between reason and force. Instead of leading to sociological reductionism, this method leads to an unexpected irreductionism.

“In this rigorous and beautifully researched volume, Milanich considers the tension between social and biological definitions of fatherhood, and shows how much we still have to learn about what constitutes a father.”
—Andrew Solomon, author of Far from the Tree: Parents, Children, and the Search for Identity

For most of human history, the notion that paternity was uncertain appeared to be an immutable law of nature. The unknown father provided entertaining plotlines from Shakespeare to the Victorian novelists and lay at the heart of inheritance and child support disputes. But in the 1920s new scientific advances promised to solve the mystery of paternity once and for all. The stakes were high: fatherhood has always been a public relationship as well as a private one. It confers not only patrimony and legitimacy but also a name, nationality, and identity.

The new science of paternity, with methods such as blood typing, fingerprinting, and facial analysis, would bring clarity to the conundrum of fatherhood—or so it appeared. Suddenly, it would be possible to establish family relationships, expose adulterous affairs, locate errant fathers, unravel baby mix-ups, and discover one’s true race and ethnicity. Tracing the scientific quest for the father up to the present, with the advent of seemingly foolproof DNA analysis, Nara Milanich shows that the effort to establish biological truth has not ended the quest for the father. Rather, scientific certainty has revealed the fundamentally social, cultural, and political nature of paternity. As Paternity shows, in the age of modern genetics the answer to the question “Who’s your father?” remains as complicated as ever.

When the Second World War broke out, Winnipeg was Canada’s fourth-largest city, home to strong class and ethnic divisions, and marked by a vibrant tradition of political protest. Citizens demonstrated their support for the war effort through their wide commitment to initiatives such as Victory Loan campaigns or calls for voluntary community service. But given Winnipeg’s diversity, was the Second World War a unifying event for Winnipeg residents? In The Patriotic Consensus, Jody Perrun explores the wartime experience of ordinary Winnipeggers through their responses to recruiting, the treatment of minorities, and the adjustments made necessary by family separation.

In Classical China, crafted artifacts offered a material substrate for abstract thought as graphic paradigms for social relationships. Focusing on the fifth to second centuries B.C., Martin Powers explores how these paradigms continued to inform social thought long after the material substrate had been abandoned. In this detailed study, the author makes the claim that artifacts are never neutral: as a distinctive possession, each object—through the abstracting function of style—offers a material template for scales of value. Likewise, through style, pictorial forms can make claims about material “referents,” the things depicted. By manipulating these scales and their referents, artifacts can shape the way status, social role, or identity is understood and enforced. The result is a kind of “spatial epistemology” within which the identities of persons are constructed. Powers thereby posits a relationship between art and society that operates at a level deeper than iconography, attributes, or social institutions.

Historically, Pattern and Person traces the evolution of personhood in China from a condition of hereditary status to one of achieved social role and greater personal choice. This latter development, essential for bureaucratic organization and individual achievement, challenges the conventional opposition between “Western” individuals and “collective” Asians.

Actor and singer Paul Robeson's performances in Othello, Show Boat, and The Emperor Jones made him famous, but his midcentury appearances in support of causes ranging from labor and civil rights to antilynching and American warmongering made him notorious. When Robeson announced at the 1949 Paris Peace Conference that it was "unthinkable" for blacks to go to war against the Soviet Union, the mainstream American press declared him insane. 
 
Notions of Communism, blackness, and insanity were interchangeably deployed during the Cold War to discount activism such as Robeson's, just a part of an array of social and cultural practices that author Tony Perucci calls the Cold War performance complex. Focusing on two key Robeson performances---the concerts in Peekskill, New York, in 1949 and his appearance before the House Committee on Un-American Activities in 1956---Perucci demonstrates how these performances and the government's response to them are central to understanding the history of Cold War culture in the United States. His book provides a transformative new perspective on how the struggle over the politics of performance in the 1950s was also a domestic struggle over freedom and equality. The book closely examines both of these performance events as well as artifacts from Cold War culture---including congressional documents, FBI files, foreign policy papers, the popular literature on mental illness, and government propaganda films---to study the operation of power and activism in American Cold War culture.

Peasants, Power, and Place is the first English-language book to focus on Ukrainian-speaking peasants during the revolutionary period from 1914 to 1921. In contrast to the many studies written from the perspectives of the Ukrainian national movement’s leaders or the Bolsheviks or urban workers, this book portrays this period of war, revolution, and civil war from the viewpoints of the villagers—the overwhelming majority of the population of what became Ukraine. Utilizing previously unavailable archival documents, Mark R. Baker opens a unique and neglected window into the tumultuous events of those years in Ukraine and across the crumbling Russian Empire. One of Baker’s key arguments is that the peasants of Kharkiv province thought of themselves primarily as members of their particular village communities, and not as members of any nation or class—ideas to which peasants were only then being introduced. Thus this study helps to move the historiography beyond the narrow and ideologized categories created during the Cold War and still employed today. Readers will gain a broader understanding of the ways in which the majority of the population experienced these crucial years in Ukraine’s history.

The pressures Asian Americans feel to be socially and economically exceptional include an unspoken mandate to always be healthy. Nowhere is this more evident than in the expectation for Asian Americans to enter the field of medicine, principally as providers of care rather than those who require care. Pedagogies of Woundedness explores what happens when those considered model minorities critically engage with illness and medicine whether as patients or physicians. 

James Kyung-Jin Lee considers how popular culture often positions Asian Americans as medical authorities and what that racial characterization means. Addressing the recent trend of writing about sickness, disability, and death, Lee shows how this investment in Asian American health via the model minority is itself a response to older racial forms that characterize Asian American bodies as diseased. Moreover, he pays attention to what happens when academics get sick and how illness becomes both methodology and an archive for scholars. 

Pedagogies of Woundedness also explores the limits of biomedical “care,” the rise of physician chaplaincy, and the impact of COVID. Throughout his book and these case studies, Lee shows the social, ethical, and political consequences of these common (mis)conceptions that often define Asian Americans in regard to health and illness.

Vegans and cyclists are often outsiders, negotiating food systems and built environments that tend to prioritize omnivores and motor vehicles by default. Pedaling Resistance: Sympathy, Subversion, and Vegan Cycling examines the relationship between veganism and cycling through the journeys, experiences, and reflections of a dozen vegan cyclists from the United States and beyond.
 
The essays in this collection explore the unity between cycling for health, work, competition, transport, and joy, and the issues of animal suffering, environmentalism, and speciesism inherent in veganism—all through lenses of class, race, gender, and disability. Pedaling Resistance illuminates themes of everyday resistance and boundary crossing to uncover the greater social and political issues that underlie the decisions to give up animal products and choose cycling over driving.
 

Americans have revered prowess in sports going back to the seventeenth and eighteenth centuries. Nancy L. Struna explores the significance, meaning, and structure of competitive matches and displays of physical prowess for both men and women in colonial culture. Engrossingly written for the general reader as well as sport and leisure historians, People of Prowess is a pioneering work that explores a rarely examined area of colonial history and society.

East Germany’s Socialist Unity Party aimed to placate a public well aware of the higher standards of living enjoyed elsewhere by encouraging them to participate in outdoor activities and take vacations in the countryside. Scott Moranda considers East Germany’s rural landscapes from the perspective of both technical experts (landscape architects, biologists, and physicians) who hoped to dictate how vacationers interacted with nature, and the vacationers themselves, whose outdoor experience shaped their understanding of environmental change. As authorities eliminated traditional tourist and nature conservation organizations, dissident conservationists demanded better protection of natural spaces. At the same time, many East Germans shared their government’s expectations for economic development that had real consequences for the land. By the 1980s, environmentalists saw themselves as outsiders struggling against the state and a public that had embraced mainstream ideas about limitless economic growth and material pleasures.

 In the aftermath of state-perpetrated injustice, a façade of peace can suddenly give way, and in South Africa and the Democratic Republic of Congo, post-apartheid and postcolonial framings of change have exceeded their limits. Performance and the Afterlives of Injustice reveals how the voices and visions of artists can help us see what otherwise evades perception. Embodied performance in South Africa has particular potency because apartheid was so centrally focused on the body: classifying bodies into racial categories, legislating where certain bodies could move and which bathrooms and drinking fountains certain bodies could use, and how different bodies carried meaning. The book considers key works by contemporary performing artists Brett Bailey, Gregory Maqoma, Mamela Nyamza, Robyn Orlin, Jay Pather, and Sello Pesa, artists imagining new forms and helping audiences see the contemporary moment as it is: an important intervention in a country long predicated on denial. They are also helping to conjure, anticipate, and dream a world that is otherwise. The book will be of particular interest to scholars of African studies, black performance, dance studies, transitional justice, as well as theater and performance studies.

The Performer-Audience Connection is a pioneering foray into one of the major puzzles of human communication: the communication of emotion in dance. It is the first attempt of its kind systematically to investigate what performers wish to convey and what audiences perceive in the performance of dance.

The centerpiece of this provocative book is an examination of performer intentions and audience response at eight dance performances in Washington, D.C. Part of the Smithsonian Institution Division of Performing Arts Dance Series, these concerts featured a variety of dance genres and cultures: American tap dance, Kathakali dance-drama from Kerala, India, Japanese Kabuki, contemporary avant-garde dance, Philippine folk dance, the Indian classical tradition of Kuchipudi, and modern dance to an AfroAmerican spiritual.

How did dancer and audience interact at the emotional level on these eight occasions? What affected performer-audience rapport? Through interviews of both spectators and dancers, Judith Lynne Hanna explores the performers' ways of imparting emotion through movement and audience members' expectations and responses. In doing so she casts new light on important issues of cultural identity, sex role, historic attitudes toward dance, and even marketing the arts today.

A landmark work not only for performers who wish to reach their audiences more effectively but also for choreographers, anthropologists, specialists in nonverbal communication, behavioral scientists, educators, and all who are fascinated by the arts and the special magic of the "performer-audience connection."

Using interdisciplinary performance studies and cultural studies frameworks, Laura G. Gutiérrez examines the cultural representation of queer sexuality in the contemporary cultural production of Mexican female and Chicana performance and visual artists. In particular, she locates the analytical lenses of feminist theory and queer theory in a central position to interrogate Mexican female dissident sexualities in transnational public culture.

This is the first book-length study to wed performance studies and queer theory in examining the performative/performance work of important contemporary Mexicana and Chicana cultural workers. It proposes that the creations of several important artists—Chicana visual artist Alma López; the Mexican political cabareteras Astrid Hadad, Jesusa Rodríguez, Liliana Felipe, and Regina Orozco; the Chicana performance artist Nao Bustamante; and the Mexican video artist Ximena Cuevas—unsettle heterosexual national culture. In doing so, they are not only challenging heterosexist and nationalist discourses head-on, but are also participating in the construction of a queer world-making project. Treating the notion of dis-comfort as a productive category in these projects advances feminist and queer theories by offering an insightful critical movement suggesting that queer worlds are simultaneously spaces of desire, fear, and hope.

Gutiérrez demonstrates how arenas formerly closed to female performers are now providing both an artistic outlet and a powerful political tool that crosses not only geographic borders but social, sexual, political, and class boundaries as well, and deconstructs the relationships among media, hierarchies of power, and the cultures of privilege.

Who's better? Billie Holiday or P. J. Harvey? Blur or Oasis? Dylan or Keats? And how many friendships have ridden on the answer? Such questions aren't merely the stuff of fanzines and idle talk; they inform our most passionate arguments, distill our most deeply held values, make meaning of our ever-changing culture. In Performing Rites, one of the most influential writers on popular music asks what we talk about when we talk about music. What's good, what's bad? What's high, what's low? Why do such distinctions matter? Instead of dismissing emotional response and personal taste as inaccessible to the academic critic, Simon Frith takes these forms of engagement as his subject--and discloses their place at the very center of the aesthetics that structure our culture and color our lives.

Taking up hundreds of songs and writers, Frith insists on acts of evaluation of popular music as music. Ranging through and beyond the twentieth century, Performing Rites puts the Pet Shop Boys and Puccini, rhythm and lyric, voice and technology, into a dialogue about the undeniable impact of popular aesthetics on our lives. How we nod our heads or tap our feet, grin or grimace or flip the dial; how we determine what's sublime and what's "for real"--these are part of the way we construct our social identities, and an essential response to the performance of all music. Frith argues that listening itself is a performance, both social gesture and bodily response. From how they are made to how they are received, popular songs appear here as not only meriting aesthetic judgments but also demanding them, and shaping our understanding of what all music means.

Performing the Greek Crisis explores the impact of the Greek financial crisis (2009–19) on the performing arts sector in Greece, and especially on contemporary concert dance. When Greece became the first European Union member to be threatened with default, the resulting budget cuts pushed dance to develop in unprecedented directions. The book examines the repercussions that the crisis had on artists’ daily lives and experiences, weaving the personal with the political to humanize a phenomenon that, to date, had been examined chiefly through economic and statistical lenses. Informed by the author’s experience of growing up in Greece and including interviews and rich descriptions of performances,  the book offers a glimpse into a pivotal moment in Greek history. 

In Greece, dance (and, by extension, the body) has historically held a central role in the process of national identity construction. When the crisis broke out, artists had to navigate through a precariously fluctuating landscape, with their bodies as their only stable referent. By centering the analysis of the Greek crisis on the dancing bodies, Performing the Greek Crisis is able to examine the various ways that artists reconceptualized their history and reframed ideas of national belonging, race, citizenship, and immigration.

Performing the News: Identity, Authority, and the Myth of Neutrality explores how journalists from historically marginalized groups have long felt pressure to conform when performing for audiences. Many speak with a flat, “neutral” accent, modify their delivery to hide distinctive vocal attributes, dress conventionally to appeal to the “average” viewer, and maintain a consistent appearance to avoid unwanted attention. Their aim is what author Elia Powers refers to as performance neutrality—presentation that is deemed unobjectionable, reveals little about journalists’ social identity, and supposedly does not detract from their message. Increasingly, journalists are challenging restrictive, purportedly neutral forms of self-presentation. This book argues that performance neutrality is a myth that reinforces the status quo, limits on-air diversity, and hinders efforts to make newsrooms more inclusive. Through in-depth interviews with journalists in broadcasting and podcasting, and those who shape their performance, the author suggests ways to make journalism more inclusive and representative of diverse audiences.

Buenos Aires psychoanalysts resisting imperialism. Brazilian parasitologists embracing communism as an antidote to rural misery. Nicaraguan revolutionaries welcoming Cuban health cooperation. Chilean public health reformers gauging domestic approaches against their Soviet and Western counterparts. As explored in Peripheral Nerve, these and accompanying accounts problematize existing understandings of how the Cold War unfolded in Latin America generally and in the health and medical realms more specifically. Bringing together scholars from across the Americas, this volume chronicles the experiences of Latin American physicians, nurses, medical scientists, and reformers who interacted with dominant U.S. and European players and sought alternative channels of health and medical solidarity with the Soviet Union and via South-South cooperation. Throughout, Peripheral Nerve highlights how Latin American health professionals accepted, rejected, and adapted foreign involvement; manipulated the rivalry between the United States and the USSR; and forged local variants that they projected internationally. In so doing, this collection reveals the multivalent nature of Latin American health politics, offering a significant contribution to Cold War history.

Contributors. Cheasty Anderson, Anne-Emanuelle Birn, Katherine E. Bliss, Gilberto Hochman, Jennifer L. Lambe, Nicole Pacino, Carlos Henrique Assunção Paiva, Jadwiga E. Pieper Mooney, Raúl Necochea López, Marco A. Ramos, Gabriela Soto Laveaga

A new exploration of how digital media assert the relevance of dance in a wired world

How has the Internet changed dance? Dance performances can now be seen anywhere, can be looped endlessly at user whim, and can integrate crowds in unprecedented ways. Dance practices are evolving to explore these new possibilities. In Perpetual Motion, Harmony Bench argues that dance is a vital part of civil society and a means for building participation and community. She looks at how, after 9/11, it became a crucial way of recuperating the common character of public spaces. She explores how crowdsourcing dance contributes to the project of performing a common world, as well as the social relationships forged when we look at dance as a gift in the era of globalization. Throughout, she asks how dance brings people together in digital spaces and what dance’s digital travels might mean for how we experience and express community. 

From original research on dance today to political economies of digital media to the philosophy of dance, Perpetual Motion provides an ambitious, invigorating look at a commonly shared practice.

In Peruvian Lives across Borders, M. Cristina Alcalde examines the evolution of belonging and the making of home among middle- and upper-class Peruvians in Peru, the United States, Canada, and Germany.

Alcalde draws on interviews, surveys, participant observation, and textual analysis to argue that to belong is to exclude. To that end, transnational Peruvians engage in both subtle and direct policing along the borders of belonging. These acts allow them to claim and maintain the social status they enjoyed in their homeland even as they profess their openness and tolerance. Alcalde details these processes and their origins in Peru's gender, racial, and class hierarchies. As she shows, the idea of return—whether desired or rejected, imagined or physical—spurs constructions of Peruvianness, belonging, and home.

Deeply researched and theoretically daring, Peruvian Lives across Borders answers fascinating questions about an understudied group of migrants.

Petroforms contributes a much-needed theory of form and genre to the cutting-edge field of petrocriticism, itself an offshoot of developments in postcolonial ecocriticism. Studies of resource fiction and inquiries in the energy humanities have recently taken their rightful place as necessary reflections on the role of the literary imagination in intervening in the Anthropocene as we find ourselves precariously placed in the face of a fossil fuel crisis, climate change, and mass extinctions.

With Petroforms, Helen Kapstein undertakes close readings of a range of Nigerian aesthetic forms: short stories, romance novels, documentary film, the “Nollywood” film industry, fine art sculpture, and poetry. She uses these forms to argue that the demands of paying attention to petroleum extraction, production, consumption, and distribution in the creation of resource fictions must necessarily alter and affect conventional forms and structures. What results is a new set of genre-bending forms, like documentary film that we can read as horror, in response to the forceful and fluid demands of the petroleum industry and its master narrative.
Nigeria is one of the world’s largest oil-producing nations, in which that production is concentrated in the Niger Delta, resulting in a local environment that has been steadily degraded by oil spills, flares, pollution, and contamination, and a local culture shaped by false scarcity in a space of abundance, murderous politics, and escalating violence. At the same time as the Niger Delta grounds Kapstein’s argument in its own political realities and cultural responses, Nigeria’s participation in a global economy of petrodependency allows her theory of petroforms to be extended and applied more generally.

What Peter Hitchcock calls “oil’s generative law” is that it is “everywhere and obvious, it must be opaque or otherwise fantastic.” He means the coexistence of oil’s taken-for-granted qualities is something constitutive of every level of everyday life and its spectacular displays—gushers, spills, explosions. Oil’s nature, the fact that it is everywhere, unctuously oozing into every corner of everyday life, means that it constantly spills over out of our existing forms, genres, and systems, demanding accommodation. To try to contain it, we create new forms. Thus, a petroform is simultaneously reactionary (a necessary response to oil’s pressures, a by-product of the commodity itself) and resistant (an attempt at containment, at generating a retort to the very thing that shapes it). Each form figures oil and then configures and reconfigures itself in reaction to it.

2020 Choice​ Outstanding Academic Title​
Short-listed for the Juan E. Méndez Book Award for Human Rights in Latin America from Duke University Libraries

How do victims and perpetrators of political violence caught up in a complicated legal battle experience justice on their own terms? Phenomenal Justice is a compelling ethnography about the reopened trials for crimes against humanity committed during the brutal military dictatorship that ruled Argentina between 1976 and 1983. Grounded in phenomenological anthropology and the anthropology of emotion, this book establishes a new theoretical basis that is faithful to the uncertainties of justice and truth in the aftermath of human rights violations. The ethnographic observations and the first-person stories about torture, survival, disappearance, and death reveal the enduring trauma, heartfelt guilt, happiness, battered pride, and scratchy shame that demonstrate the unreserved complexities of truth and justice in post-conflict societies. Phenomenal Justice will be an indispensable contribution to a better understanding of the military dictatorship in Argentina and its aftermath.

This book describes the flowering of the Irish American community and the 1890s growth of a Gaelic public sphere in Philadelphia, a movement inspired by the cultural awakening in native Ireland, transplanted and acted upon in Philadelphia’s robust Irish community. The Philadelphia Irish embraced this export of cultural nationalism, reveled in Gaelic symbols, and endorsed the Gaelic language, political nationalism, Celtic paramilitarism, Gaelic sport, and a broad ethnic culture.

Using Jurgen Habermas’s concept of a public sphere, the author reveals how the Irish constructed a plebian “counter” public of Gaelic meaning through various mechanisms of communication, the ethnic press, the meeting rooms of Irish societies, the consumption of circulating pamphlets, oratory, songs, ballads, poems, and conversation.

Settled in working class neighborhoods of vast spatial separation in an industrial city, the Irish resisted a parochialism identified with neighborhood and instead extended themselves to construct a vibrant, culturally engaged network of Irish rebirth in Philadelphia, a public of Gaelic meaning.

A compelling biography of Mark Weiser, a pioneering innovator whose legacy looms over the tech industry’s quest to connect everything—and who hoped for something better.

When developers and critics trace the roots of today’s Internet of Things—our smart gadgets and smart cities—they may single out the same creative source: Mark Weiser (1952–99), the first chief technology officer at Xerox PARC and the so-called “father of ubiquitous computing.” But Weiser, who died young at age 46 in 1999, would be heartbroken if he had lived to see the ways we use technology today. As John Tinnell shows in this thought-provoking narrative, Weiser was an outlier in Silicon Valley. A computer scientist whose first love was philosophy, he relished debates about the machine’s ultimate purpose. Good technology, Weiser argued, should not mine our experiences for saleable data or demand our attention; rather, it should quietly boost our intuition as we move through the world.
 
Informed by deep archival research and interviews with Weiser’s family and colleagues, The Philosopher of Palo Alto chronicles Weiser’s struggle to initiate a new era of computing. Working in the shadows of the dot-com boom, Weiser and his collaborators made Xerox PARC headquarters the site of a grand experiment. Throughout the building, they embedded software into all sorts of objects—coffeepots, pens, energy systems, ID badges—imbuing them with interactive features. Their push to integrate the digital and the physical soon caught on. Microsoft’s Bill Gates flagged Weiser’s Scientific American article “The Computer for the 21st Century” as a must-read. Yet, as more tech leaders warmed to his vision, Weiser grew alarmed about where they wished to take it. 
 
In this fascinating story of an innovator and a big idea, Tinnell crafts a poignant and critical history of today’s Internet of Things. At the heart of the narrative is Weiser’s desire for deeper connection, which animated his life and inspired his notion of what technology at its best could be.
 

The Photographic Fix explores how photographs from World War I were used in personal photo albums and mass-market picture books to determine the meaning and legacy of the postwar Weimar Republic. Due to their publication success and wide reception, picture books should be considered no small part of this broad struggle of ideas to cement the war’s legacy in the Weimar era. Drawing from a large archive of photographs created during the war by amateur soldier-photographers and professional reporters alike, Justin Court explores how visual depictions of the war were used to construct and distort memory in the highly contested realm of war commemoration in the Weimar. These books of photography reveal an effort to shape how the war was visually remembered in order to influence public opinion on myriad matters following in the war’s wake, including notions of German guilt and responsibility, the legitimacy of the Republic, and the political future of the German nation. By utilizing relatively neglected sources, The Photographic Fix expands scholarship on German war photography to illuminate how images from the war and Weimar period reflected the public’s understanding of the medium at the time.

Defining the Chief Executive via flash powder and selfie sticks

Lincoln’s somber portraits. Lyndon Johnson’s swearing in. George W. Bush’s reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly-discovered daguerreotype of John Quincy Adams to Barack Obama’s selfies to tell the stories of how presidents have participated in the medium’s transformative moments. As she shows, technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs—as representations of leaders who symbolized the nation—sparked public debate on these values and their implications.

An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it.

In Photographic Returns Shawn Michelle Smith traces how historical moments of racial crisis come to be known photographically and how the past continues to inhabit, punctuate, and transform the present through the photographic medium in contemporary art. Smith engages photographs by Rashid Johnson, Sally Mann, Deborah Luster, Lorna Simpson, Jason Lazarus, Carrie Mae Weems, Taryn Simon, and Dawoud Bey, among others. Each of these artists turns to the past—whether by using nineteenth-century techniques to produce images or by re-creating iconic historic photographs—as a way to use history to negotiate the present and to call attention to the unfinished political project of racial justice in the United States. By interrogating their use of photography to recall, revise, and amplify the relationship between racial politics of the past and present, Smith locates a temporal recursivity that is intrinsic to photography, in which images return to haunt the viewer and prompt reflection on the present and an imagination of a more just future.

The essays in this volume examine, from a historical perspective, how contested notions of modernity, civilization, and being governed were envisioned through photography in early twentieth-century Indonesia, a period when the Dutch colonial regime was implementing a liberal reform program known as the Ethical Policy. The contributors reveal how the camera evoked diverse, often contradictory modes of envisioning an ethically governed colony, one in which the very concepts of modernity and civilization were subject to dispute.

In this fascinating study of five populations, author Doug Jones explores the possibility that hardwired into the human psyche are standards of beauty that are really preferences and signals for good health.

The first scholarly exploration of the forums, practice, and economics of functional medicine.

Physicians of the Future interrogates the hidden logics of inclusion and exclusion in functional medicine (FM), a holistic form of personalized medicine that targets chronic disease. Rosalynn Vega uncovers how, as “wounded healers,” some FM practitioners who are former chronic disease sufferers turn their illness narratives into a form of social capital, leveraging social media to relate to patients and build practices as “doctor-influencers.” Arguing that power and authority operate distinctly in FM when compared to conventional medicine, largely because FM services are paid for out of pocket by socioeconomically privileged “clients,” Vega studies how FM practitioners engage in entrepreneurship of their own while critiquing the profit motives of the existing healthcare system, pharmaceutical industry, and insurance industry. Using data culled from online support groups, conferences, docuseries, blogs, podcasts, YouTube, and TED Talks, as well as her own battles with chronic illness, Vega argues that FM practices prioritize the individual while inadvertently reinscribing inequities based on race and class. Ultimately, she opens avenues of possibility for FM interlocutors wrestling with their responsibility for making functional medicine accessible to all.

Examining musical instrument destruction through an ecological and intermedial lens

Musical instruments are typically seen as objects both used and maintained with ritualistic care. But what happens when they’re tossed from homes in mudslides, burned during ecstatic parties, or waterlogged by pop stars in viral videos—and how do these elemental interactions transform the way we see and play instruments? Piano Decompositions asks what happens when we let go of controlling musical instruments. What kind of meanings start to sound when instruments are moved out of the protected cultural space and engage with their surrounding elements?

 

Heidi Hart and Beate Schirrmacher trace the history of destroyed and decaying pianos, both sorting them within the realm of artistic violence against instruments and following their return journeys into water, sand, and soil. They parse the artistic vision of Annea Lockwood, whose iconic burning, drowning, and decaying Piano Transplants presented a novel means of drawing attention to the increasing threats of climate change in the 1960s and ’70s. Turning to instruments made from found materials and others played collaboratively with wind and water, they demonstrate how human sound making is entangled in the more-than-human world.

 

Showing how the piano can transform conversations around the Anthropocene and environmental destruction, Hart and Schirrmacher find the instrument to be a potent creative and ecological force, a medium to connect with environments in an explorative, attentive way. Piano Decompositions unearths new ways to relate our concepts of curiosity, pleasure, and music to the natural world.

 

 

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Comics and childhood have had a richly intertwined history for nearly a century. From Richard Outcault’s Yellow Kid, Winsor McCay’s Little Nemo, and Harold Gray’s Little Orphan Annie to Hergé’s Tintin (Belgium), José Escobar’s Zipi and Zape (Spain), and Wilhelm Busch’s Max and Moritz (Germany), iconic child characters have given both kids and adults not only hours of entertainment but also an important vehicle for exploring children’s lives and the sometimes challenging realities that surround them.

Bringing together comic studies and childhood studies, this pioneering collection of essays provides the first wide-ranging account of how children and childhood, as well as the larger cultural forces behind their representations, have been depicted in comics from the 1930s to the present. The authors address issues such as how comics reflect a spectrum of cultural values concerning children, sometimes even resisting dominant cultural constructions of childhood; how sensitive social issues, such as racial discrimination or the construction and enforcement of gender roles, can be explored in comics through the use of child characters; and the ways in which comics use children as metaphors for other issues or concerns. Specific topics discussed in the book include diversity and inclusiveness in Little Audrey comics of the 1950s and 1960s, the fetishization of adolescent girls in Japanese manga, the use of children to build national unity in Finnish wartime comics, and how the animal/child hybrids in Sweet Tooth act as a metaphor for commodification.